Daniel Guzmán presents at the Museo Marco, as part of the exhibition En el hilo de la noche: La trama del mundo, the new chapter in his series El hombre que debería estar muerto: Ohmáxac/Encrucijada ¿A qué dios se ofrece la sangre?, which continues the artist's graphic explorations from 2017.
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This new chapter of El hombre que debería estar muerto is based on the image of the crossroads, the intersection of paths, the intersection of destinies, of time and space, of encounters, fortunate and terrible, that life brings, both individually and collectively.
The symbol and metaphor of the crossroads is present in the imagination of practically every civilization on the planet.
Conquest is a crossroads where two eras and two civilizations intersect at the zero point of their histories.
The concept of the crossroads is also found in 20th-century Western popular music culture: in the legends of blues musicians who went out in search of those magical crossroads or intersections, places inhabited by forces that could grant them special gifts and favors in exchange for their souls. The myth about Robert Johnson and the crossroads is one of the best known.
Using crossroads and intersections as an imaginative narrative framework, this series of drawings presents the character with the following question:
With the collapse of the economic, social, and political system of global capitalist neoliberalism, along with the new wave of techno-fascism disguised as nationalism, the machinery of propaganda, extermination, and hatred has been set in motion once again in the United States, Europe (Ukraine), and the Middle East (Palestine).
Could this be a foundational historical crossroads, a zero point in world history where it is possible to unite what has been separated?
Daniel Guzmán
Guadalajara, Jalisco, September 2025.
En el hilo de la noche, la trama del mundo is an exhibition by Lucía Vidales, Amor Muñoz, and Daniel Guzmán.
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