Agustín Bejarano

[…] Once we are in front of them, The rites of silence, with that more recent and fresh part of the series of Agustín Bejarano we may recognize the importance he grants to time. It was been at the same time both body and spirit inside all his work, handled almost always with a certain anarchy, but valuable every time the artist has required to define multiple identities.

On this occasion time is premise, a clause in the legitimacy of its rites, though its outlook now differs substantially from the sense the artist granted it in previous works. If with it Bejarano granted space to memory to recreate its dramaturgy (i.e., its history) and, after its appropriation it was possible to reach certain states of permanence, the new series turns to be an immediate now –or if you prefer it– a present that denounces in its instantaneousness the drama of human existence, consuming itself in its own immediacy […]. ¹

1. Caridad Blanco, “Prayer,” Los ritos del silencio, Agustín Bejarano (Catalogue, 8th Havana Biennial: Servando Art Gallery, 2003), 8.