Info

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 spatiotemporal configurations.
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 self-reproduces.
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.