Miguel Ángel García, on modern (and sinister) slavery

Walter Benjamin predicted that in the future, among the functions of art, perhaps the “artistic” would become accessory. He was referring to the decline of art that takes refuge in its own language. To try to focus on what is important, in recent decades, artists' research has expanded into the human sciences, highlighting their forays into anthropology, in a world that is divided between globality and post-colonial criticism, the migrations and refugees closed camps, between extreme wealth and extreme poverty. And what about slavery?

Miguel Ángel Garcia (Madrid, 1952) spent four years investigating the supposed end of slavery. A question that arrived after obtaining the global picture of European energy dependence after traveling 60,000 km. in your project independence (2008-2012), which gave rise to his interest in environmental disasters and the human dramas they entail.

Although slavery dates back to the first civilizations, in modern times and within the framework of the colonial economy consolidated by racism for four centuries, 15 million people were enslaved for European prosperity.

With his beautiful photographs of places and landscapes, along with objects linked to the daily life of slavery, he pays homage to the oblivion of those lives.

Miguel Ángel García's research starts from what was called the great experiment of slave liberation carried out in 1834 by the British crown in Mauritius, tracing the history of the transport of coolies from India to work in sugar cane exploration.

to take to reflection on the present: It is estimated that more than 50 million people today live in what is considered modern slavery. Trafficking in women and men, child labor or the sale of organs are some of the forms of this sinister business.

But this exhibition, curated by Isabel DuranIt is not a mere complaint. With his beautiful photographs of places and landscapes, along with objects linked to the daily life of slavery and belonging to the National Museum of Anthropology, the artist pays homage to the oblivion of those lives. With its elegant interspersed photographs of buildings and boats, witnesses of the ignominy, establishes a necessary distance that avoids incurring the benefit of empty sentimentality.

Finally, with the collages of news extracted from the media and propaganda graphics that cover the walls with feminist, anti-racist and anti-fascist proclamations and against all discrimination, confronts us with the reality of slavery today. How can we live with this and, at the same time, be proud to be defenders of Human Rights?

[Miguel Ángel Blanco, the universe in an obsidian mirror]

In a positive light, covering the perimeter fences of the museum, portraits and phrases of the courageous young women from the Karibu association, with which it collaborates, are displayed.

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