As in the case of the Japanese artist Tetshuya Ishida, last May, while trying to enjoy a weekend spent in Bilbao in water, I had the opportunity to know part of the work of another critical artist and committed to the terrible circumstances of the lousy management we make of the planet we live in.

His name, Isaac Cordal, like Tetshuya Ishida's, did not tell me anything, used, as I am, to seek meaning, beauty and mystery in the great artists of the past.

Cordal and Ishida were thus far from my thoughts and from my eternal pursuits of a transcendence, whose compass pointed, with persistent monotony towards figures such as Bosch, Van Eyck, Lucas Cranach, Tintoretto, Da Vinci, el Greco and many others, whose life and work had awakened in me that greed for perfection, beauty and knowledge, in the labyrinths whose search you can believe it, I have invested many years of my life.

The rain, always happens in the past, as Jorge Luis Borges said in one of his most famous poems, can sometimes be like those tempting lips that Providence presents us, in order to seduce and silence some other frustrated desire .

Having bet Bilbao, for becoming a modern and cultural city of the first order - how incredible the comments seemed to me that until relatively recent times, it had been a gray city and debased by the industrial macula - I remember that this weekend was dedicated to the museums and their visit, in addition to free - including the almighty Gugenhein, whose feelings I will talk about on another occasion - was an invitation to the sin of curiosity, difficult to refuse.

However, before it was completely satisfied, on Sunday morning, before devoting ourselves to the noble art of 'marianito and rabas' in the old town, as is traditional, that pair of lovely cyclones that are Txatxy and Angel , I had a very special surprise reserved for me: the Azkuna Center (Azkuna Zentroa).

Located at number 4 of the central Arrikibar Square, a wise reform had managed to make this old building, which until then had been the Alhóndiga de Bilbao, an outstanding and modern place, worth knowing.

Inside, once recovered from the remarkable effect that the artistic columns had left on my restless imagination - if you want to have an idea of ​​why, I invite you to visit the post I dedicated to them, although on this platform the effort, the creativity and originality are never rewarded, if you are not friends with someone: [Bilbao: the Pillars of the Earth] (https://main.weku.io/community-deals/@juancar347/bilbao-los-pilares-de -the-earth) - I found one, at least, curious exhibition, whose theme and miniatures left me completely stunned.

In a small receptacle, about the same size as one of those prefabricated swimming pools for children, an authentic nuclear catastrophe demanded the attention of those present, under the title of "Follow the leaders"; or what comes to be a personal interpretation: ‘Follow Disaster’.

Following the leaders, a title that, as you will see, I have replaced with that of Isaac Cordal's Apocalypse, offers a horrific sample of what could well be considered as the Hiroshimas or the Nagasakis of Europe.

In fact, to see how among the rubble, a group of desolate survivors seem to represent, metaphorically and comparatively speaking, the crying scene about the dead Christ - one of the most repeated themes of the Flemish or Renaissance artists to which he previously referred to - about a flag of the European Union, I assure you that it leads us to seriously consider the myth of that metaphorical sword of Damocles that hangs over our heads, in the form of an out of focus arms race, which not only keeps a West in vile whose fame of decline goes every day on the rise, but in addition to enslaving the peoples, it also means the Pandora Box made available to the decisions of the irresponsible on duty.

Desolated scene - I will avoid the criticism, because the criticism jumps to the face like a punch capable of knocking out the most tanned - is that one, in which two sanitary assumptions carry a stretcher towards a non-existent hospital ... with a tiny portion of a lawn, unable to survive already in a nuclearly vitiated environment, which will never be what it was.

The scenes of cannibalism or the elite bodies provided with a mask, I think they are, after this singular horror, the least relevant of a criticism as brutal as objective, where it seems that every day that fierce and angelic trumpet sound is closer, announced by the Evangelist, in his cryptic and poorly understood Revelation:

‘He touched the first. There was hailstorm and fire mixed with blood, which were thrown on the earth and the third part of the earth was burned, the third part of the trees was burned, all the green grass was burned ... '(Revelation: 8,7).

Out of curiosity, looking for something about Isaac Cordal, I have found a publication of La Voz de Galicia, dated July 22 of this year, where he is described as the Galician Banksy and shows some of his spectacular compositions of miniatures and critics, which may perhaps be of interest.

Just in case you are interested, adding to the Cause of Life - it is never too late to think about what kind of world we want and we intend to leave our children - here is the link: https://www.lavozdegalicia.es/noticia/ culture / 2019/07/22 / isaac-cordal-banksy-galician-bet-own-liliputienses / 0003_201907G22P28991.htm

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NOTICE: Both the text, and the accompanying photographs, as well as the video that illustrates it (except music, reproduced under YouTube license), are my exclusive intellectual property.

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[Martial, latin poet]

Ars vtinam more Animvm qve effingere. Posses pulchrior in ter. Ris nvlla tabella foret.

Arte Ojala pudieras representar. el carácter y el espíritu. No habría sobre la tierra. Imagen más bella

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