SACRE MEMORI

SACRE MEMORI explores the transcendental dimension of dance as the architect of collective memory and guardian of cultural identity. This exhibition unveils the alchemical process through which gestures are transfigured into sacred ritual: human figures dance with the same cadence as flowers swayed by the wind, revealing an ancestral unity where bodies and petals respond to the same primordial pulse, interweaving the tangible with the mythical in a choreography that transcends the separation between human and vegetal.
Here, dance transcends movement to become a vehicle of cultural transmission. Each gesture among flowers acquires the silent authority that only the genuinely sacred possesses, revealing that collective memory inhabits that primordial zone where the boundaries between human and vegetal dissolve, transforming the landscape into a living temple of ancestral identity.

"I have discovered the dance. I have discovered the art that was lost two
thousand years ago. It is the dance of the Greeks, the dance of the future."
- Isadora Duncan.

There is something almost unbearably moving about this declaration; it is the kind of magnificent delirium that belongs to all true artists, it is their essential solitude. Because what does it mean to "discover" what has been lost? What terrible silence must one have endured to believe oneself the sole heir to an ancestral conversation between body and cosmos? Javier Ruiz steps forward into that same silence, where gesture, performance, and textures converge with the peculiar intensity of a half-remembered prayer. His works dance on canvas as life dances in the space we inhabit, that curious and charged atmosphere where meaning accumulates like dust in sunlight, visible only when conditions are precisely right. It is the magic of that vibration, that tremor between what was and what might still be. In this dance, flowers bloom interpreting their botanical destiny with the same urgency that dancers attempt to shed their fabrics. There is no hierarchy here between human and vegetal, only shared participation, like the fortune of wind that sways the plants. The paintings show us the memory of those rituals we have never witnessed but somehow recognize. Javier Ruiz has connected with that primordial frequency where collective memory resides, like a living current. This is a kinetic enchantment of what could be called the primordial gesture, the one that compels you to exist and give meaning to everything you build. A movement that does not respond to learned techniques but to an older bodily wisdom, where the hand knows before the mind, and each stroke becomes a bridge toward that dimension where the essential dwells. In "Sacre Memori," Javier Ruiz has discovered, or perhaps recovered, that point where art stops being about beauty and becomes about survival, about preserving what would otherwise be lost in the terrible amnesia of our time. In a world increasingly divorced from its own body, from the rhythms that once organized human experience around something more sustaining than productivity, these works arrive as both lament and possibility. They remind us that we too once knew how to move with the same cadence as flowers swayed by the wind, that our bodies once participated in a cosmic conversation we have somehow forgotten how to listen to. In this magic of return, "Sacre Memori" becomes a temple not through grandeur but through attention, that fierce concentration that transforms ordinary gesture into ritual. It is the artifact of a possible future, one in which we might again know ourselves as participants rather than observers in the ancestral dance that connects all living beings. It pulses with the authority of prophecy, silent and insistent like the beating of the heart.

Text by Victoria Rivers