This exhibition takes the form of an installation or complete appropriation of the space at Galería MUY by the artist Dyg’nojoch. Dyg’nojoch (Ch’enalho’, 1989) grew up in the city of San Cristóbal de Las Casas and is an active participant in the local urban art culture, resistance culture, and alternative artistic practices. He is one of the founders of GAM (Grafitti/Arte/Mural). He affirms his roots and his participation in Maya culture. In this exhibition, he organized to be accompanied by Marcela, a poet in Tsotsil, and Maré, a rapper from Oaxaca.

The following is a text written about the exhibition by the artist Rodrigo Cervantes.

The scent of copal incense brings echoes of an ancient, harmonious music that has never ceased to sound in this space whenever it is invoked. Like beings emerging from a holographic memory, we see old ghosts of the Maya worldview wrapped in dense, spiced smoke, whispering in our ears stories born from the rich oral tradition of these legendary peoples, confronted with a modernity that will never fully resonate with them; this very resistance to post-colonial modernism is what leads Dyg’nojoch to recreate this mythical epic, to bring back this iconography that seems trapped in an eternal loop, hidden from the eyes of the uninitiated. A living, pulsating need to remember, regardless of the cost of the stories of his ancestors, to reconnect and understand himself through tales as old as this land, so exploited and rich in resources. We can see Pakal as the cosmic traveler piloting a ship made of corn, the primordial substance of all of us, the Mesoamerican peoples. We see glyphs whispering secrets into the ear of the Red Queen, who revels in an unperturbed peace at the center of the world, at the very heart of divine creation; floating through the entire composition is music that has not been heard in millennia, accompanying the weaving of an archetypal jaguar, trapped in its gesture in a ritual everyday life with which it weaves the destinies of men—the very men from this land who resist and, at the same time, accept the idea of living this urbanized, contradictory future.

Hand in hand with wise elders, Dyg’nojoch becomes a chronicler and witness, continuing the traditions of his ancestors by portraying and bringing to contemporary times stories that we must never forget, thus becoming what all artists should be: weavers of stories.