In an effort to understand the nature of the human being, Emanuel Tovar (Guadalajara, Mexico, 1974) draws lines that move between the material dimension and the spiritual dimension. The repetition of a process to achieve its perfection, the energy and physical effort that the individual constantly invests in work to produce or build something and the way in which this gear conditions or subjects us to an inertia that seems to limit us to the material realm and dissociate us from the spiritual state.

Emptiness, infinity, repetition, transmutation, tragedy, exile, solitude and death are concepts around which the exhibition Pequeño poema infinito (Little Infinite Poem), a title taken from a poem by García Lorca, revolves. Overlapping different spaces, times and disciplines, it reflects on the construction of identity and the meaning of existence. In Tovar's memory, certain images and phrases seem to repeat and perpetuate themselves. From there, he generates certain parallels with some of the ideas of three great references: Federico García Lorca, Mathias Goeritz and José Clemente Orozco.

The exhibition covers three lines that intersect at times. The first takes Lorca's life and work as its starting point. In a first approach, Tovar vaguely recalls his participation in street theatre, where his teacher recited Lorca's verses that continue to repeat themselves in his memory like the vibration of a guitar string. Thus, he projects a series of drawings where fragments of Lorca's poems are repeated and superimposed in a line that seems to exceed the limits of the paper, pulsating before the eye and generating diffuse horizons.

Based on the tribute paid to Lorca in 1935 by the Mexican composer Silvestre Revueltas, Tovar developed the work of the same name to the exhibition, Pequeño poema infinito, which consists of a performative action in a collaborative work with the Galician musician Samuel Diz, where tragedy, misfortune and bad luck will be framed in a new composition, to be performed on the guitar, the poet's favorite instrument. In a sequence of continuous repetition and generating an amalgam of tragic and melancholic sounds, which seem infinite, the action will be framed in the moment of greatest vulnerability, as a metaphor for Lorca's silencing.