The End of Inquisition
Fiesta de la fin de l’Inquisition (Fiesta of the End of Inquisition), 2019, oil on canvas, 130x130cm.
The painting Fiesta of the End of Inquisition – freely inspired by Hippolyte Lecomte’s engraving, The End of Inquisition in Barcelona, March 10, 1820 – questions the disappearance of this institution, its incongruous chronology, from suppression to restoration, from clandestinity to metamorphosis.
Between white hoods around a pyre and dancers from the Roaring Twenties, Adach’s painting symbolically juxtaposes the impossible: the negationism of conservative historians, for whom the Inquisition is a legitimate court whose practices are wrongly demonized, or the criticism of feminist historians who insist on the transformation of violence against women beyond the persecution of witches.
