Algo latente tiembla

Andrea Ferrero investigates the spatial logics of power through architectural mechanisms of control and surveillance. For this exhibition, the artist subverts these elements, translating them into a playful language drawn from the imaginary of childhood, characterized by an open and flexible mode of perception that moves between the fantastic and the real. Through a small castle or medieval fortress door—whose miniature scale recalls the Little Tikes toys—the artist offers a sweetened version of the control systems that govern our movement through public space, as well as our intimate lives from the earliest stages of human development. The ornamental details of the door evoke dollhouses, standing in ironic contrast to the weight of locks, hinges, and iron bars. Within this setting, the intrusive presence of a moth, camouflaged among the metallic elements, announces itself as an omen.

To allow oneself to be traversed by vulnerability means accepting the reconfiguration of symbolic frameworks and the creation of new vocabularies. Between black and white, Tania Bello’s work layers seemingly incompatible volumes to form a vertical structure—the totemic unit that brings together earth and sky. The various elements linked by copper, a conductive metal, work as components of an utterance that precedes all language, a spell whose secrets are legible only through form: the iridescent sphere appears as the critical point where infinite planes and temporalities converge, while the black egg at the summit evokes hidden knowledge and mystery itself. It is the hermetic vessel in which transmutation takes place, a space where possibilities are suspended, condensed, and reconciled.

Contra la opacidad (autotomía caudal) by Mili Herrera constitutes the final scene in a series of adventures featuring an ambiguous character clad in an armor-suit, embodying forms of colonial domination. After venturing into the jungle in the spirit of exploration, this knight loses his way and wanders aimlessly, only to find himself eventually immobilized and consumed by nature. Caudal autotomy is an anti-predator biological strategy employed by certain reptiles: it consists of the self-amputation of the tail, which, once detached, continues to move, distracting the attacker and allowing the animal to escape the threat. In the work, the (human) body appears fragmented, reduced to its most minimal state: an eyeball and the foot bones. Within the context of the exhibition, this image symbolizes the surrender of the self in its patriarchal and dominant form, whose motivations are gradually eroded by the immensity that surrounds it.