Allegories of the Real and the Supernatural invites a profound philosophical reflection, as it situates itself on the threshold of two fundamental dimensions of human experience: the tangible, perceived through the senses, and the intangible, which transcends empirical logic and enters the realm of the spiritual, mystical, or metaphysical. Allegories suggests that art, in cases such as this, offers symbolic representations that extend beyond the literal interpretation of things, transcending them to reveal deeper meanings. Allegories serve as vehicles through which hidden truths, complex realities, and invisible connections between different planes of existence are communicated.

In the context of philosophy, the real is often associated with the concrete, the immediate, and the verifiable. Philosophical traditions such as empiricism hold that reality is what we can know through the senses and experience. However, thinkers like Kant have argued that reality is also mediated by the structures of our mind and perception. Thus, art can reinterpret the real, unveiling hidden or overlooked aspects of the everyday. The supernatural, on the other hand, challenges the limitations of the real and inhabits the realm of the ineffable, the inexplicable. From Plato to the Neoplatonists, philosophy has explored the notion that there exists a ‘beyond’ the sensible world—a realm of pure ideas, spirits, or transcendental forces that shape the material world.

In this sense, the supernatural is not simply ‘that which cannot be explained’ but rather that which, at least in theory, lies beyond the reach of direct experience, yet is essential to understanding reality in its totality.

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In Milixa’s community, there is a tradition of dressing up like monsters and performing a ritual dance to ward off evil. Her painting portrays “The dancing spirits” participating in this tradition, and through it, Milixa expresses her beliefs and identity. Milixa’s artwork captures the essence of the phrase “Holy water!” which highlights the significance of something when it is scarce, particularly something as fundamental as water. The struggle for access to clean water in Latin America is a daily reality, and people can truly appreciate its value when it becomes available. In her piece, Milixa portrays her father taking a bath using the water he was able to collect, demonstrating his optimistic outlook on life despite limited resources. Milixa’s artwork “Yara,” portrays the goddess of nature, also known as Maria Lionza, who is a mythological figure with roots in reality as the daughter of a Cacique, or native Indian chief. This piece is part of Milixa’s self-portrait series and serves as an allegory for her connection to nature and the spiritual world.

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Elkin Cañas' installation delves into the rituals of energetic cleansing through objects and sensory interaction. STAND 1 showcases traditional cleansing tools, with graphite drawings on the walls symbolizing the purging of negative energy. STAND 2 incorporates incense and palo santo, appealing to the sense of smell. The drawings depict figures covering their noses, avoiding the purifying aromas. STAND 3 features a Tibetan bell, focusing on sound. Here, the figures cover their ears, symbolizing a retreat from external noise into inner silence. STAND 4 presents a rosary, evoking spirituality. The figures shield their eyes, alluding to blind faith and the tension between belief and perception. The installation reflects how our senses shape the experience of the invisible, highlighting the connection between physical objects and spiritual practices.

In an ambivalent manner, Cañas invites us to engage with cosmic energy and the multiple existences that, according to him, coexist within the vast fabric of the universe. His work offers a sensory experience that challenges our perception of reality. The installation unfolds a series of ritual altars, each associated with the purification of energies, while the graphite drawings on the walls evoke the expulsion of negative energies. Through these symbolic objects—incense and palo santo, a Tibetan bell, and a rosary—Cañas leads us to reflect on the intersection of the physical and the metaphysical. Each piece challenges a sense: the smell of incense urges us to cover our noses; the sound of the Tibetan bell prompts us to block our ears; and the rosary, in an act of spiritual blindness, suggests closing our eyes—thus addressing the limitations of sensory perception in the quest for the sacred.

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