The work of Bernardo Orduño Guerra (Guadalajara, 1997) explores the potential of transliteration from a visual system to another through the slippage of oversimplification to prefigure an objective reality haunted by dominance, identity, heritage, extractivism and looting of prehispanic objects.  

With those simplistic forms and characters, Bernardo Orduño Guerra creates caricatured hypergraphics to form allegorical tableaux composed of “affiches” in the style of op-art kinetic typography, prismatic style or drawings that whether prefigure a simplistic reading of events to focus on the social content of any reality or to integrate visuals ripped from graphic design history to reflect on both the naïve familiarity of events and the use of such forms in propaganda as visual identity in different historical contexts. The use of historical props along with the role of objects to read and make sense of contexts blur the lines between visions and fantasies to create ambiguous realms that alter the complexity of history, assimilating external realities together to generate new (realistic-plausible) connections between unrelated events 

Bernardo Orduño Guerra uses an extensive range of sources, libraries, historical archives and ethnographic collections (Museo Nacional de Antropología and INAH Jalisco, Mexico, 2018; Museo de la Plata, Argentina, 2019) to build fictional realms that intersect with literature, philosophy and anthropology while questioning the literary approach from which history is constructed or romanticized 

Bernardo Orduño Guerra lives and works in Guadalajara. He is trained as a Conservator-Restorer from the ECRO (Escuela de Conservación y Restauración de Occidente, Guadalajara, Jalisco, 2022) specialized in archeological ceramics and lithic collection.