Ronny Quevedo’s art gallery exhibit features an oeuvre concerning the demarcation of boundaries. He expressly defines his art through sports, painting and constructing pieces before an athletic backdrop. Quevedo’s works include portraitures of sporting fields and contraptions based on athletic paraphernalia. His paintings of sporting fields are strewn with lines which project Quevedo as a sort of designer of novel games. Thus, he allegorizes the system of borders as a game not to be amended, but reformed.
Admittedly, I can’t attest to the event’s expanding my schema. If anything, I found it to be the most vapid function I have attended this year. I find all modern art to be a bore, however, so it may be untoward to pass such a judgment. I deemed Quevedo’s purpose of undermining international borders to be feckless. His subject of sports was underwhelming; if he truly sought to convey a powerful message, he should have resorted to a more unifying medium like family. I understand that he believes sports promote solidarity, the concept of which runs afoul of the philosophy of borders, but many interpret sports conversely. Sports are contentious events that evoke factionalism from spectators. They are innately adversarial and encourage competition, thereby disconfirming Quevedo’s rationale. Many a sporting event is marred by overzealous partisans provoking quarrels with their counterparts. An especial case can be made about Egyptian soccer fans, who cheer so riotously as to foment stadium-wide brawls. In 2012, such an incident claimed the lives of 70 spectators. Clearly, Quevedo doesn’t garner much acclaim from Egypt. Such disunity serves to delegitimize Quevedo’s theory. Ultimately, there is no rhyme or reason to the divisive furor sports elicit. Tailoring an entire art exhibit to the vain unity sports muster fails to typify the unity of a borderless world, if such a world could even be unified.
