Darío Escobar’s “Quetzalcoatl” plays with notions of stability between the undulating bicycle tires, as they surrender their circular shape to gravity laws, and the bronze counterweights.
The artwork is related to the installation presented at the 53rd Venice Biennale titled Kukulkán II (2009) which was celebrated as a way of the artist conveying the powerful mythological image of the feathered serpent deity present in so many cultures in Central America with the display of some 950 flayed bicycle tires forming an environment into which the viewer can enter and be engulfed. At the same time, the artist foregrounds the fact that the rubber was extracted from Guatamala's Petén forest and later processed in Taiwan, reflecting the reality of late capitalism and globalization.