Carlos Martiel and the actuality of Slavery bondage

There should be no doubt about the religious edge nature of art, but religion is no longer a cultural reference; reduced to its mere political function, in contradiction to the historical transcendentalism of modern Idealism. That is why this nature of art goes unnoticed, with the distortion of the anthropological structure of society; which, no longer determined by culture but by politics, resolves its ideological character in this projection of art.

That is important, because in this religious edge nature, art becomes a pseudo-religious function; providing in this a hermeneutical structure (ideology), for that political determination of society. In this sense, art assumes the reflexive-discursive function of mystical traditions in religion; with an emphasis on the discursive, channeling this ideological rather than reflexive function, with its ethical referents; but also with reflective scopes, in this mystical character that it provides in its spiritual exaltation.

On the face of it, that order is already inverted as part of this distortion of society's determination; which is not resolved in culture itself —as an existential praxis— but in politics, with this effect. That is why, as a mystical sublimation of discourse, art no longer contradicts the institutional function of discourse; contrary to the pre-modern tradition on which it is based, and in which mysticism continually subverted this institutionality.

This is again important, as the dialectical loop in which society loses its capacity for renewal; by justifying, rather than adapting its institutionality, in the hermeneutical function of this historical transcendentalism. It is here that the contradiction is serious, as seen in the extreme cases of social marginalization; which segmented into conceptual abstractions, such as intersectionality, it cannot comprehend the individual.

The serious thing here is that the individual is the ontological basis of society, resolved in its existential praxis; which —thus disappeared— causes the stagnation of the whole structure, already doomed to an accelerated entropy. As an example, see the case of performances in plastic art, with their openly discursive projection; which, by recreating itself in the drama of an original experience, prevents its overcoming as practical.

The example would be in cases such as that of Carlos Martiel and his treatment of racism, which is always political; as it does not refer to an existential experience, but only recreates that of slavery in the black historical past. Martiel, to explain the example, does not contextualize the phenomenon as historical, but only morally; so that in the end it is decontextualized, in the same Manichean tradition of moral institutionalism; which born in Christianity, subverts its own anthropology as soteriological, with the political function of ideology.

Martiel thus reproduces the impact of the mystics on the Christian tradition, with its metaphysical drama; but, as we have seen, not in the anthropological function with which this mystique subverted tradition; made in the updating of that soteriological character of the experience he proposed, against institutional political pressure; but rather confirms and justify —as transcendental— that institutionality, with its moral transcendence. In fact, Martiel's work —as a postmodernist in general— requires a massive and systematic subsidy; which would already corrupt him, in that supposedly unconventional nature, with a political compromise.

As a result, to continue with the example, the black person will never be able to overcome his past as a slave; as the modern Christian can never escape the supposed but institutional blackmail of his liberation by Christ; which is supposed, since in reality it would occur at the individual level, by their consciousness, not institutionally. In this case, the black people is affiliated as a principle to an ideology, which spreads its protective mantle over him; that is to say, he loses the power of his own political expression, which is individual as practical and existential.