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Revolving Catastrophes and Myths of a Beautiful World.

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Desliza a la derecha / izquierda para las versiones en español e inglés.

Ours is a beautiful world of stories, and myths spun around cycles of catastrophe and disaster that revolve around themselves infinitely.

There is a shape to this cycle. It is a line that curves in two places in opposing directions, symbolizing a movement that revolves around a central axis. As each single cycle returns to its starting point, the cycle repeats, becoming a series of bigger movements, or revolutions. As the revolutions gain momentum and begin to grow, they become erratic, and capable of disrupting the social context. The catastrophe strikes, the trauma is felt, rebuilding begins, and the cycle repeats.  

Around these cycles weengage in ritual ceremony to face the supernatural things that provoke the revolving storms. We metamorphosize idols, construct myths, and create ghosts. Throughout time the rituals, idols and myths change form, but it is our natural inclination to form allegories and metaphors in order for our collective consciousness to cope.  Then the cycle repeats, and as long as the cycle repeats history continues.

This revolutionary movement has been fodder for humanity throughout generations, and the storm has beenboth metaphorical and physical. Catastrophe must strike in order for humanity to continue on its axis, and myths must be created in order to link the circumstances of our present with our past. From the movement of bodies through countries, drug wars, civil wars, global economies, tourism, police brutality and school shootings, each cycle of catastrophe creates a revolution that spins on its erratic axis. The social fiber is disrupted, and another cycle of catastrophe is instigated, which is repaired by the creation of new myths. And the cycle of our beautiful world repeats once more.

Revolving Catastrophes and Myths of a Beautiful World is a site-specific exhibition by Cristobal Gracia (Mexico City), and curated by Leslie Moody Castro (Mexico City/Austin). This exhibition takes the endearing eccentricities of Galveston Island, its history of devastating storms, rebuilding, tourism, and immigration to investigate the cycles of catastrophe and the subsequent myths created as coping mechanisms. Here the history of disasters can also be translated into larger and more prevalent social issues as one catastrophe instigates a cycle of smaller revolutions that define our collective histories

This exhibition would not have been possible without the help and support of the Galveston Historical Foundation, Nick Barbee, Jami Durham, Renee Tallent, Dash Beardsley, Biquini Wax EPS, everyone at the Press Box, and a very very special thanks to Sallie, Dan, Eric and Justin our GAR family.

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