Orgón is the second iteration of the project Transhistorical Parliament of Living and Dead Entities from Central America and Panama.

Through invocations, evocations, collaborations, and other devices, Gabriel Rodríguez Pellecer summons other entities and artists—both living and dead—to this second exhibition of the Parliament, which comprises drawings, paintings, furniture, and video.

The Parliament presents itself as a resonance chamber that collects echoes, harbors mnemonic remnants and evocative scents, and seeks to make presences and absences dance. It fosters discussions between real and imagined artists, the deceased and entities that are solid, liquid, gaseous, and invisible.

By invoking three spirits of great importance as transhistorical advisors—Manly P. Hall, Wilhelm Reich, and Armando Reverón—this exhibition introduces pieces/agents that furnish the body of this ethereal and extracognitive space that is the Parliament. Proposals from the Parliament’s historical-political critique wing are condensed here, alluding to the Central American present through a video in which piracy calls us to conspire against authoritarianism via horror cinema.

This Parliament proposes a threshold for the trans-corporeality of ideas and ideologies within a poetic space free of cognitive constraints. We propose ourselves as extracognitive. In a transhistorical, transvisual, and parafictional conversation, the Parliament functions as an interstice where ideas, concepts, intergenerational dialogues, and evocations of both past and future assemble—aiming to erotize the relationships between politics, history, and propaganda, and to bring certain political-spiritual practices into the present.

This project reclaims frameworks from the past—such as theosophy, Freemasonry, anarchism, and vitalism—to adapt, contrast, and fuse them with new spiritualities. This edition incorporates Wilhelm Reich’s experiences with orgone and Manly P. Hall’s initiatory process.

The proposal envisions a transformation of the 21st-century neoliberal New Age into a collective path, through the evocation of figures and political projects that shaped transformative processes in Latin American societies throughout the 19th and 20th centuries.

As a trans-corporeal and trans-ideological Parliament, we embrace its indefinition and mutating nature, where the boundary between the living and the dead dissolves into lines, colors, moving images, volumes, scents, sounds, presences, and absences.