Written by Sofía Jacky Rosell for the collective virtual exhibition “The fold of space”

“The fold of space”


Faced with the absence of a space of analogical materiality, we resorted to an exhibition space of digital materiality, a room without walls with a different articulation. Video has been our main resource, through it we made use of the artists’ personal spaces: small corners, tables, floors and walls, which do not follow the dictates of the museum space. The lighting comes from a window or a lamp, designed to meet the needs of the individual who lives in that place and not depending on the work. Here both works and projects and file reviews, relationship games and resignifications are presented. The exhibition space folds back and becomes domestic and intimate. It is that place that we do not access and that we would probably never access on the analog plane and that nevertheless now seems to grant us permission, although perhaps it is only an illusion.


It is through digital media and more specifically social networks that we access what is foreign, often seeking to browse the world of the other. However, we know that this contact is not always authentic. It is clear that there is an urge, a need and a desire to connect with the other, and digital media is an option. But many times these experiences become frivolous and lacking in sensitivity. This leads us to wonder if it is possible to generate a more sensitive way of using the network and if deeper approaches can be generated through this medium.

This proposal does not pretend to give an answer but precisely to ask the question.

Casa Eugenia Mendoza

In relation to the exhibition experience, we believe that it is not about equalizing the experience on the analog plane, but about generating a new experience from the specificity of the digital. It is not about telling the truth but about raising the problems that arise when transferring works and proposals from one materiality to another. Ask ourselves how to think about the digital exhibition space and what options the media give us. Think about what the pieces gain and what they lose in this plane and in what way we can enrich or at least enhance the works in the digital dimension.

BEATRIZ MOREIRO, NIDO DESINTEGRÁNDOSE. 2014. Grafito sobre papel 300 gr. 100 x 70 cm.

We propose this work as a search for the sensible. We have tried to respect the particularity of each artist and each work, avoiding falling into universalism. It is a curatorial proposal in a baroque way, where other elements appear surrounding the work. It is shown not in the clean, stripped-down context of the gallery but in the artist’s own context: a library, a dining table, the wall or the red tiles of the house. These works and projects are not only linked to objects, to space, to the word and the voice of the artist who relates, but they are also likely to generate links with other content on the web. The digital space – specifically that of the internet – is dense, full of connections and interdependencies, where information and relationships are infinite, and where works easily become hyper narrative. We thus surrender to the certainty that nothing is isolated and that everything is symbiotic.

Sofía Jacky Rosell

© All photos courtesy of Quadro gallery.

LEONARDO CAVALCANTE. MUSEO DEL INCONSCIENTE. 2020. Work in progres. Pinturas, máscara, escultura, objetos. Medidas variables. (Detalle)
EUGENIA MENDOZA, TÓTEM. 2018. Material: Madera, terciopelo, tachas, bronce y vellón.
32 x 11 x 11 cm
Casa Lucía Delfino
Writing for Sofia Gallo – “The Shapes of Time” by Eduardo Stupia at Coral Contemporary Gallery