An unexpected encounter left a visitor momentarily disoriented during a recent visit to an exhibition. A mechanical serpent moved towards them, triggering an instinctive recoil. Thankfully, this serpent was a sophisticated animatronic creation, part of Fernando Palma Rodríguez’s intriguing exhibition at Canal Projects in New York, on display through July 27. This exhibit showcases a collection of robotic devices that blur the line between technology and life.
Visitors are greeted by a solitary corn stalk at the entrance, its weathered husks hinting at a storied past. Ascending a few steps, one confronts a large pile of dirt, above which hovers a mechanized snake with occasionally flapping wings. This creature, the Cincoatl snake, takes centre stage in the exhibit. In Mesoamerican traditions, the Cincoatl, often translated as “snake-friend of maize corn,” is believed to protect crops from harmful forces. The snake in Rodríguez’s exhibit performs this protective role amidst a quartet of Chinantles—barriers made from corn stalks that symbolize the Aztec deity Quetzalcoatl, associated with wind, Venus, the Sun, arts, knowledge, and learning. With their marble eyes and menacing fangs, these serpents create a sacred space, moving in the four cardinal directions. One such serpent appeared to lunge at the visitor, but the encounter ended peacefully, leaving both the visitor and the corn unharmed.
Commissioned by Canal Projects, a nonprofit art space in Lower Manhattan since 2022, this installation delves into the origins of corn while reflecting on Indigenous technologies. The accompanying wall text references Chilean sociologist Luis Razeto Migliaro, who describes Indigenous technologies as tools capable of cultivating life. True to this definition, Rodríguez’s sculptures animate the space. The piece “Vasijas de barro con cucharas” (Clay Pots with Spoon, 2024) features motorized wooden utensils that clatter together like castanets. “Tezcatlipoca” (2017) is a towering structure that rises above a cardboard coyote skull, crowned with an old CD/cassette/MP3 boombox. Periodically, this assembly swivels on a rolling wheel. The Cincoatl snake, the exhibit’s focal point, ascends and descends, mimicking flight in a primitive fashion. Fernando Palma Rodríguez’s work serves as a poignant reminder of technology’s dual capacity for destruction and creation. His handcrafted robots embody a hopeful message: the visible construction of these forms suggests that what is made can also be dismantled and reimagined.
The exhibition underscores a profound narrative about the origins and future of technology. It posits that while modern advancements often appear destructive, technology has the potential to foster life and growth. By integrating elements of Indigenous culture and technology, Rodríguez highlights a harmonious coexistence with nature, a stark contrast to the often destructive path of contemporary technological progress.
In navigating through Rodríguez’s exhibition, visitors are invited to reconsider their relationship with technology. The blend of ancient symbolism and modern mechanics challenges perceptions and invites reflection on the potential for technology to nurture rather than harm. This artful contemplation is particularly relevant today as society grapples with technological advancements and their implications.
As the exhibition continues at Canal Projects, it offers a space for dialogue and introspection. Fernando Palma Rodríguez’s robotic creations not only animate the gallery but also breathe life into a critical conversation about the future of technology and its role in our lives. Through his imaginative and thought-provoking work, Rodríguez cultivates a vision where technology is a tool for renewal and growth rather than destruction.
