Whispering Mirrors equates about the apparent linearity and predictability of time and physical
space through its objective mediations and subjective correlates, exploring material devices and
atmospheres of specular flows in which sculptures, technical objects, images, and sounds are
constituted as animated realities, by developing their own modes of existence and specific
The exhibition space is given here as a certain spatiotemporal
capsule, where contingent dynamics of
worldmaking and inhabiting processes are explored.
We access a large cocoon, a place of
transformation, material, and speculative otherness, where a
heterogeneous and immersive technological apparatus completes and totalizes itself as a kind of
artificial, but living organism, which, in the movement of its breathing, self-references and
A dynamic thought between materials, images, and sounds is revealed: the objects
looking for the
images of which they are referents or reflections; the images, endowed with thickness, looking for
the bodies of which they are the skin.
Upon entering, Ariane welcomes us. The only humanoid
presence in the entire exhibition — as a
witness of a distant time and of another place that was once inhabited — whispers to us a little
story, the short story by Jorge Luís Borges, “Animals of the mirrors”. It tells us of an immemorial
time in which mirror beings and human beings did not coincide, living in a communicating but
independent harmony, which would be broken by a battle between these two worlds, the first being
imprisoned by the second and doomed to perpetually replicate their movements. One day, however, all
mimetics would be destroyed again.
Collecting these fabled echoes, Whispering Mirrors is situated
in a gesture of ambivalent
productivity. On the one hand, rehearsing a possible return to a mythical memory, or primitive
imaginary background, where matter and images share the same ontological status, and where the human
does not assume a hierarchical and mobilizing position. On the other hand, proposing to draw itself
as a potential space for a future eco-logy where this condition of horizontal presence is allowed
and operable by the creative action of technological devices, in a poetic and sensitive effort,
where the world, the technique, and their shaping forces take place in a dimension of infinite
openness, difference, and fertility.
Curatorship and Text
"Whispering Mirrors" - Carpintaria de São Lázaro, Lisbon.
Carpintarias de São Lázaro and Ocupart