In “Ritual Landscape” Francisco Muñoz revisits a spatial integration concept aiming to formulate a situation of scenographic character in which two sets of pieces intervene. On one side, a series of round pieces relate to chimallis or pre-Hispanic shields. In each one of the paintings, Muñoz has searched for a sign in a limited four color palette and in a series of motifs that, even though it is reminiscent of Mesoamerican art, does not keep archeological considerations. In the logic of the series there is a substitution of elements in which, for example, acrylic takes the place of minerals or graphite of gold. With plastic solutions and Archeology derived titles, he aims to appeal to preconceived notions in the spectator about cultures from the past and their material production. Something similar happens with the mounting of the pieces that could be related to topic images about temple representations or with traditional museography in an exhibit room of archeological objects. This appearance is reinforced with the presentation of the second set: four ceramic pieces that also appeal to the material culture of the past, to shared images, without pursuing a recreation nor a replica. In that same sense, paintings and ceramics maintain certain ambiguity like art objects that simultaneously, refer toinstruments - in this case, of a strong warlike character.

- Daniel Garza-Usabiaga.