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The other side Individual exhibition Daisy Prieto Carla Rebelo's exhibition for the Doispaços gallery was born out of her interest in the morphology of this place. The pieces, with a sculptural and/or installation character, are all new and designed to establish a dialogical relationship with the architectural specificity of the rooms. The exhibition «the other side» is established within a body of work that is based on the artist's hyper-subjectivity, on her perception of the world, always conditioned by memory, imagination, personal experiences and individual way of feeling. If the construction of reality depends on individual perceptual sensitivity – which is a distinctive mark – it is then from this perceptual awareness, and having metaphor as a creative device, that Carla Rebelo exposes herself with a work that emphasizes the shadow in a mise-en- scène and the mirror in a mise-en-abîme with unusual contours. Invisible stories, secret or to be told, are at the genesis of this set of works where the "I" is latent and the "you" is invited to witness an event of profound intimacy, which is offered to it, or rather, which slowly reveals itself to it. . To expose is to homogenize, it is to erase the hesitation that precedes any authorial choice to, thus, fix and impose meanings. The titles of the pieces in this exhibition, as well as the title that groups them together, function as a «poetic laboratory» that delimits, by suggestion of a certain field of imagery, the horizon of expectation of the aesthetic experience. The title names, indicates or shows, designates a content and is displayed within a set of pieces by the same author, it is an index, summary and formula within a network that lists the works. The adequacy of the title in the pieces by Carla Rebelo (which here quote Fernando Pessoa), give them a performative character in that it not only individuates them but also participates in their own plastic dimension. the other that was me “We never love anyone. We love, just the idea we have of someone. It is our concept – in short, it is ourselves – that we love»1 Two seats located at the same height are joined by a structure that, by imitating, by repetition, the stability structure of the legs of conventional chairs, also suggests a ladder. The piece develops in a half-moon, in a semi-circumference whose point of balance is, strictly speaking, what keeps each of the seats, located at both ends, level. It is a double chair, the artist's metaphor for the "perfect relationship", as these seats face each other, evoke a dialogic and frontal pair and, at the slightest touch, the entire structure oscillates with a sway that makes them go up and down in turn, always equidistant, always facing each other. This sculpture inevitably refers to the playful object of childhood: the swing for two people, which oscillates with the weight, will always be a pedagogical device and a source of pleasure. It provides an experience on the order of physics where weight, volume, balance and quantity interact in play. If the ladder is access, here is the access to the other. The sculpture is that of the absent figure(s). Installed with a great scenic sense, the piece projects a shadow, a flat duplication of the object. The "plus one" of an apparent repetition in shadow is, here, confirmation of a new entity with its own characteristics: a haunted or specular "other" that always accompanies the sculptural piece, to complete, unify and/or transfigure it. The title also adds a dimension, producing a “psychological” shadow over the “other”. It is the shadow of the “I”, of an “I” that is also a specular projection. In this way, the artist formulates a game of abysses from the shadow, duplicating it real and virtually, making it a metaphor for specular projection, (re)dimensioning its contours in an oscillation that goes from the self to the «other». The game of shadows, summoned by the artist, fluctuates between identity and otherness and this is the movement that gives it a whole meaning. «I am the size of what I see and not the size of my height» In Carla Rebelo's metaphorical plan, the chair replaces the presence/absence of someone (of an “other”) and also of the “same”, as the sculptor always takes her biography as the primary reference for the conception of her pieces. A chair for very tall people, made of wood, depends on a mirror and a wall, where it is backed-in to complete the reflection. This illusory completeness takes place in the alteration of the apparent morphology of the chair, which partially affects this object from the seat to the back: the chair seems to extend through the mirror to receive “more” someone and, in this movement, it becomes whole. The mirror is part of a set of stuccoes-in-frame, crucial in the characterization of this room, a heritage from other times. On the wall, two frames, one with a mirror and one without, suggest a diptych. If the one in the mirror completes the artist's piece, the other remains blind. All this mise-en-scéne calls into question what is or is not whole. The incompleteness of the wooden chair and the blind frame, which lacks a mirror, appear as traces of a supposed symmetry, pointing to the lack of duplication. This lack metaphorizes the failure: the effective failure of discourse in dialogue, which inevitably leads to soliloquy. The title refers to logics other than those of the law of physics, as the size of the container does not coincide with the containment capacity. The expectation is an expansion or reduction of the field of perception vis-à-vis the perceptive body. restlessness A construction summons a weaving mechanism. The engraving on which Carla Rebelo is based is a 19th-century illustration of the volume “The art of silk” from Diderot's visual encyclopedia of knowledge, used to twist the threads and thicken them in order to make them more and more resistant. From the 24 coils of this summoning mechanism, there are silk threads dyed with quinacridone pigment, which cross the room to join in a single thread that covers a left hand. This sedated hand, because immobile and imprisoned by the silk threads, rests on a small table that resembles a dressing table. It has its pair in a specular reflection whose framing makes the reflection of the web of fibers (real and in shadow) impossible to highlight only the silk hand, suggesting it in freedom. There is then a left hand imprisoned in the filaments that condition its movement, and a free right hand, which results from a specular illusion. In this skillful mise-en-scene, the mirror only duplicates the hand, letting the lines that bind it escape to the reflection. On the wall, this entire linear design is projected in shadow. Reality seems to (re)invent itself in specular similarity and in shadow, in an unexpected staging of projections where metaphor is the resource that gives visibility to various dichotomies, the most significant being that suggested by the title, which immediately leads us to the homonymous book . In her essay dedicated to Fernando Pessoa's Book of Disquiet, Maria Augusta Babo dismantles the word: «Desassocego can thus be divided into dis-a-so-cego. Removing the negation from it, we obtain the signifier socego which, split, forms two others: alone and blind.» The author's conclusions regarding the title of this book are profound. In the case of Carla Rebelo's play, restlessness confirms an estrangement, a latent and restless anguish, an immobility that wants to move. It is also a warning murmur that leads to suspicion of its sense of visible thing (appearance) insofar as there is a visual deception, a specular illusion, a trick that summons us to «the other side of the mirror». growth maps Five maps embroidered on a single piece of linen each formulate the design of an autobiographical topology (up to age 20) that follows the fictional regime. The title is descriptive: Carla Rebelo evokes her childhood home in Lisbon to reflect and remember different times in her life. The criteria are determined by the schools she has attended until today, as a student, and which defined not only her paths but also her knowledge of the city of Lisbon. The chosen representation process is slow: a manual embroidery. Each point is like a step that, in one movement, transposes the habit of walking, where exercises of thinking and remembering are provided. On this translucent linen fabric, the colors chosen for embroidery also have different functions: black indicates the specifics of a legend that names and identifies; ocher defines buildings of reference to the route, namely the house, the school, the library, the costume museum; Crimson draws the very scheme of the city: the mapping translated into a drawing is the transposition of mental walks continuously activated by a memory that transforms and adapts within a schizophrenic creation process. "Maps of growth" juxtaposes, on the same woven surface, five stages of life, five consecutive times. At each moment, the artist exercises (de)multiplications of herself, at this or that age, in order, between memories and inventions, to (re)build topological self-narratives. «Growth maps» is a piece where the right and the wrong are in equal prominence (unlike conventional embroidery). The right side is that of control, order, regularity of the point; on the wrong side there is an inversion of the drawing, an irregularity of the point that causes a disturbance in the reading. The reverse is the reverse. The unconscious of the conscious. Installed in the gallery's window, it seeks a relationship with the public space. If the monument celebrates a past event that became a commemorative landmark, then the memorial intends to keep present the memory of an event that should never be repeated, that is, it is remembrance. In this piece by Carla Rebelo right and wrong, proper and universal, private space and public space, work as acts of detachment and evocation that reconfigure themselves as a memorial. Building a new territory for me from an already known one Carla Rebelo's plays are generated from stories based on her autobiography. By norm or method, it is on them that he relies to give meaning to his creation. However, and because all artistic work is born out of a compulsion, an uncontrollable impulse, there are formalizations that anticipate conscious stories. They are pieces that impose themselves due to the need for materialization and whose stories are still in the plan of the future, hidden in the silence of memory, without verbalization or any other manifestation that is not their plastic concreteness. This is the case of «Building me a new territory from an already known one». The paths traced with the crimson line simulate imaginary routes linking fragments of ancient maps, outside of a current time/space, from which the most identifying indications were cut (such as, for example, the names of rivers or important cities). These fragments are reassembled, by the artist, within an ocean of felt that escapes the cartography of this or that place to become a metaphor for an imagined peninsula. Here, the islands seem to extend from drawing to drawing, each one autonomously, and all together they propose an organization that is, in itself, a new drawing. It is in the assembly that this unitary set is born. Therefore, each time it is exhibited, the piece can present a different combination, as Carla Rebelo appropriates (only) the imagery of the map. That is, its visual sense is dissociated from the on-site verification. However, even if deprived of its function, the perceptible resonances are more than enough for us to think about mapping, to try to exercise, on these drawings, the exercise of recognition. Aware of the impossibility of a measurement (of confirming a place and/or a location against the place), there is the surprise of a cartography of the illusory, precisely because the conditions that pre-figure perception itself remain. The memory of these mapping processes, of their schematic aspects that give us conditions for building the image, permeates each drawing. And because the processes of similarity in metaphor are governed by an adequate dissimilarity towards the visible, each map opens up as a field for imagination. illusion game A wooden half-table, a half-book with a crimson hard cover (whose pages were glued together, preventing browsing) and a mirror (where the artist intervenes directly with a drawing) are the essential devices that are articulated in the staging of «Jogo of illusions'. The duplication of the half-book by the mirror makes it deceptively complete and open, that is, the book is seen as a whole but is constituted by two distinct halves: one objectual and the other specular. In this apparently entire book, the artist creates an illusion using a strategically directed light: it is an «elastic» drawing that moves with the displacement of the viewer. What, in fact, exists is a graphic intervention on the mirrored surface, a shadow of that register and its projection. The graphic mark simulates a vertical plane, suggests a perpendicular page (coincident with the specular surface). The mirror participates in this completeness because it seems to disappear as a mirror to camouflage itself in a transparent page, suspended in a movement of the leafing. The plastic support, thus made imperceptible, interferes with perception because, within another logic, it disturbs the specular reflection/duplication so that it can act as a signal. Repeating itself in three intensities: strong in the mirror, medium in the shadow, faint in the reflection of that shadow, the brand thus creates a design evocative of a landscape register. Illusion that escapes the logic of the apparent completeness of the book, at the limit of a staging in an abyss that informs itself in the visual misunderstanding produced by the drawing intervened directly on the mirror. Carla Rebelo defines the location of her pieces in order to delimit the observer's paths. It anticipates its movements and, consequently, the visibility of the frames. The ideal place for the enjoyment of each piece is foreseen, as well as the approximation plans, as if, ideally, the observer fulfilled a choreography conceived by the artist. It is in this expectation of movement that his pieces are installed and, only when this plane of fruition is diligently obeyed, do they seem to show themselves. «Game of illusions» is a generic title that whispers to us a suspicion regarding the visible and calls for the dismantling of the illusionist mechanisms in question: a page that is not a page is perceived, and a drawing that is completed in the revelation of a double repetition : the even, specular page and the odd, real page – which is nothing more than the top of a set of several unfinished pages because glued together, thus constituting a solid volume, an illegible tome, erased in an accumulation that hides their eventual stories. The half-book is objectual, a fragmented body, dismembered by an action whose horizon is not a reader but an observer. It's for seeing and not for reading. The play is established from a half-book that is not even half-book: perhaps it is a non-book, insofar as its function has been removed. It is anonymous, erased from any pre-text itself. In fact, if it has a title, author and editor, it is because it borrows them from the exhibition. This object exists as something else, exactly as an evocation of the idea of a book, of that entire book that is the sum of authorial intentions, of readings and interpretations as varied as those who enjoy it. Its only visible mark is found within the evocative register, which determines its aged paper pages as the place where shadow becomes a figural dimension, simultaneously protagonist and author of landscapes. The shadow is a manifestation of a line that marked the mirror, turning it into a plastic space. It is the presentification of an absence that was present in the actual act of production. Daisy Prieto Santa Cruz, June 27, 2010 1 PESSOA, Fernando, Livro do desassossego, Lisbon, ed.Richard Zenith/Assirio &Alvim, p.137 2 PESSOA, Fernando, Livro do desassossego, Lisbon, ed.Richard Zenith/Assirio &Alvim, p.80

Private landscapes Exhibition text with the same at Galeria Diferença in Lisbon Carla Rebelo's exhibition in Galeria Diferença's square space presents two pieces from 2013 for the first time exhibited in Lisbon. Private landscapes, which lends its name to this exhibition of works and Gone to Earth are two installations made up of a series of mirrors covered by a deep black that simultaneously conceal and reveal fragments of landscapes. Like a Mirror by Claude, a device used to frame the eye in the observation of nature until the 19th century. XIX, these pieces contain a captive image on their surface, as if the landscapes that these mirrors framed had been printed on them, just as a camera would do. Inverting the function of reflecting what surrounds them, however, these mirrors seem to hide what is around them, revealing their own reality, visible in the black drawing inscribed on their surface but also in the projection that emanates from them. The horizontality where the landscape fragments are drawn returns to our gaze the verticality of an image that exposes another nature, the reflection, the shadow, the negative of the drawing itself. Like Narcissus, we are invited to dive into the contemplation of a mirrored surface, and what we discover is not so much our image, but the substance that inhabits it, a "body" projected from the inside out, or a memory that becomes visible image, perhaps the memory of who, at one time, used these mirrors to frame his gaze. We are a family owned and operated business. Carla Rebelo April 2018

The arrow of time About the exhibition A moment that is repeated over and over Águas Águas Gallery, 8 in Lisbon Manuel Valente Alves Time is not seen or heard. It is situated in a mysterious way below and beyond perceptions and sensations. It has no smell or taste, does not touch, is neither hot nor cold, neither dry nor humid. However, his passage almost always leaves marks on things and beings, in the tangible reality of the world. And there are signs of time that are constructed by the human being, such as artistic and technoscientific artefacts, architecture, streets and city squares, which evoke historical times. Also the days and nights and the seasons, natural phenomena that are repeated in an infinite circularity, are the origin of many of our ideas about time. The inner time, impossible to measure, reflects aspects of human subjectivity, such as thought, love, passion, hatred ... But time itself is also an object of thought. As in this exhibition by Carla Rebelo, “A moment that is repeated continuously”, a pause in time, a kind of still that is repeated endlessly. A stop of time to reflect on it, looking at the infinite that is before and ahead of us. During this interminable pause, time becomes an object, a body that Carla Rebelo gradually dissects. Reversibility and irreversibility, finitude and restlessness, sky and earth, water and fire seem to converge in the discovery of the anatomy and physiology of time, a universe of endless and visual, semantic and other relationships and webs. In spite of the passing time, the ever faster acceleration of all kinds of speeds, this genetic work is both frozen time and time in motion, “a moment that is repeated continuously”, an archeology of knowledge, experiences, experiences and feelings. Carla Rebelo creates a totality from fragments, a time out of time that inhabits the materiality of her sculptures, the beauty of her drawings and books. There are lines that intersect and interweave, fabrics, leaves, bark… The moment that Carla Rebelo's art calls for is both an interior time, lived and eternalized, and an exterior time, delimited by history, which looks to the past and protrudes into the future. No discontinuities. As in parallel mirrors in which the self-between-mirrors multiplies into reflected images that dissolve in an endless perspective. Carla Rebelo's art is a science of continuity. Everything connects to everything. It is a slowly woven web, through which we rediscover the infinite complexity of the world, the timelessness of art. Many of the ideas made about time, nature, life are dismantled here. Like the ideas of birth and death. Birth and death do not exist in the natural world. They are pre-concepts designed to make the world intelligible, to adapt the infinite complexity of the world to the limitations of human thought. There is an infinite before us and after us, generations that succeed and connect with each other. Without being able to reveal, even in the confines of time, any cell, molecule or atom that we can designate as matrix. And death, what we call death, will only be a mere transformation of matter, a change of state. In criticisms of the big bang theory, genetic theories are often compared with myths. Which is understandable. Both genetic theories and myths seek to go back, to go back through the flow of time. Some and others try to reach the zero degree of a knowledge process that aims to make the birth of the universe, of life and of the human being intelligible. In the absence of mathematical models, myths feed on intellectual speculation. Classical science, on the other hand, focuses attention on continuous variations. Genetic processes will only begin to be addressed with the birth of embryology. As embryological processes cannot be reduced to continuous variations, given their extreme complexity, science, unable to theorize them, will, for a long time, be confined to its description. Today, genetics and problems of complexity are at the forefront of scientists' concerns, and inspire research that goes very far in the knowledge of phenomena, often linking science to art, the finite to the infinite. Life is metamorphosis, eternal metamorphosis. Between mirrors, projections of space, leaves that slowly change in texture and shape, books and sculptures, Carla Rebelo's work evokes a subjective time that projects beyond the limits of the ruler and the compass, nature and the senses, and proposes a reflection on temporality. Yours, ours, the world. An arrow of time that flies both ways, without zigzagging. We are a family owned and operated business. Manuel Valente Alves

Excerpt from the text of the exhibition I would prefer not to, from Herman Melville's short story, Bartleby, the Scrivener. The story of Wall Street, held at Plataforma R evolver in Lisbon. Maria João Gamito We are a family owned and operated business. "Silent Books titled the book / installation by Carla Rebelo. The numbered blue sheets, from two books, about 40 cm high, densely filled with handwritten records of houses and commercial establishments supposedly in the district of Lisbon, and without any indication of origin, date or functional framework, unfold like a folio, completely filling the floor of a place of passage. Book / installation or artist's book, this piece, like all of Carla Rebelo's pieces, is a response to the question of the place. But in this case, and according to the artist's words, it is also an answer to his need to create a place for Bartleby, after all not very different from the one that the clerk inhabited in the Melville tale: a corner behind the tall, green screen in the lawyer's workroom, where he stood for a long time watching a blind wall and where he remained after removing the screen. And finally, it is a device for objectifying writing in unexpected correspondences subtly defined in the commitment of the scales and the relations they establish between the real space and that of representation, and in the understanding of the object in its etymological truth, as an obstacle or barrier placed before the eyes. The pages of the property registration books, carefully torn from the books where they once had a function, are articulated as screens or walls that prevent passage in a passage place, making the place absurd and obtuse the object that inscribes its unreason. . This unreason is both that of the real impediment to crossing the passage and that of the objectification of the written record, which, already distant from the monotonous task that copied it and immersed in the absurdity of the copy whose meaning was lost, still remains, now as a screen or metaphor on the walls of the cities that belong to two places and two times and that in both refer, not to the labyrinth where men are lost by the action of a monumental exercise of reason, but to its inverse form, that of the spreading, irrational spot and entropic. The walls of Carla Rebelo, noisy and encrypted like the walls of contemporary cities, arise from the writing material that registers them and thus allows them to access a permanence that is that of the wall as the power of the image, of all images for all men who, like Bartleby, look for them in this elementary as well as essential act of turning to a wall in return to themselves and their cause. Three walls of a place of passage is the place that Carla Rebelo found for Bartleby. In it, as in the work that precedes it, the clerk stands, facing a wall, between the book that unfolds as the perspectives in a city and the book that opens to read the city and its perspectives. " Maria João Gamito

Bio Lives and works in Lisbon Carla Rebelo has a degree in Sculpture from the FBAUL (2000). Studied Textiles, Scenography, and Drawing. Received an Artistic Creation Grant from the Calouste Gulbenkian Foundation in 2010/11. Participated in artistic residencies in Portugal and also in Russia (2013); Madrid (2012) and Berlin (2011) and Istanbul (2010), following the project Journey to the interior of the lived cities. Has been exhibiting collectively since 1999. Her solo exhibitions include: Tangent Orbits, Sptut&Nic, Oporto (2022); Geology of a Place, Casa A. Molder Gallery, Lisbon (2022); Segundo o seu próprio tempo, Diferença Gallery, Lisbon (2020); Um momento que se repete continuamente, Águas Livres 8 Gallery, Lisbon (2018); Paisagens Privadas, Diferença Gallery, Lisbon (2018); Um Pentágono, um Círculo, oito Livros, São Lázaro Library, Lisbon (2017); Marca de Água, Money Museum, Lisbon (2017); Becoming Water, Marquês de Pombal Palace, Oeiras, Portugal (2016); O destino seguia-nos o rastro como um louco com uma navalha na mão, Nogueira da Silva Museum, Braga, Portugal (2015); Um movimento quase imperceptível que tem a ver com o voo, Monumental Gallery, Lisbon (2014). The artist is represented in several public and private collections of which the following stand out: Collection of Artist Books from the Calouste Gulbenkian Foundation Art Library; Center for Contemporary Art, Malaga; Luciano Benetton Imago Mundi Collection; Kronstadt History Museum, St. Petersburg, Russia; Polish Art Foundation, Melbourne, Australia; MG Collection; Figueiredo Ribeiro Collection; Portuguese State Contem porary Art Collection. See CV Memory, Time and Perception have been key words in the development of my work. My artistic language explores a metaphorical and poetic approach with relations to literature, history, mythology, travels and personal stories. I work with different materials and techniques, but the use of wood, the shadow, the mirror and the textile universe stand out. Space is a fundamental element in the creation of my pieces, many of them made specifically for the places where they are exhibited. I am interested in the morphology of the place, its details and particularities, its light, its small and large story. “Carla Rebelo creates a totality from fragments, a time out of time that inhabits the materiality and beauty of her sculptures, drawings and books. There are lines that intersect and interweave, fabrics, leaves, tree bark... The moment that her art summons is simultaneously an interior time, lived and eternalized, and an exterior time, delimited by history, which looks to the past and projects itself into the future. Without discontinuities, as in parallel mirrors in which the I-between-mirrors is multiplied into reflected images that dissolve into an endless perspective. This art is a science of continuity, everything is linked to everything. It is a slowly woven web, through which we rediscover the infinite complexity of the world, the timelessness of art.” Manuel Valente Alves, 2018

An almost imperceptible movement that has to do with flight We are a family owned and operated business. Carla Rebelo An almost imperceptible movement that has to do with the flight is Carla Rebelo's first solo exhibition of Sculpture and Installation works in Lisbon and also this artist's first collaboration with Galeria Monumental. The artist exhibits a set of unpublished works, some of which were purposely built for the Gallery's space, and also a piece from 2010 and two from 2013. Travel is the unifying concept of this exhibition. Understood as an effective journey with everything that is discovered and found there, but also as an inner journey in territories of memory and imagination. Inserted in the project started in 2010 and called “Journey into the cities lived in”, in which the journey is the starting point to work on the memory based on the experience lived on site, a piece related to the city of Berlin and a video / sculpture and an installation connected to the city of Kronstadt in Saint Petersburg, Russia. These works follow research periods in these cities, the last of which was carried out in the context of an artistic residency through the National Center for Contemporary Art in St. Petersburg. In addition to these pieces, the aforementioned concept appears associated with two characters that by themselves condense the idea of travel in the two directions worked on in the exhibition: Penélope and Ulisses from Homer's Odyssey. Two pieces associated by formal, material and spatial positioning in the Gallery refer to these two opposing and complementary forces. Ulysses personifies the traveling warrior, the one who discovers, who opens the way, travels in space and time, changes the places he goes through, makes history, makes memory. Penelope is the opposite force. It is the character who stays and imagines, who travels in his inner world, weaves to feed his desire and does it simultaneously with a creative and destructive force, by day he weaves and at night he cuts. Its journey is interior and its territory is what builds and deconstructs it. Carla Rebelo September 2014 We are a family owned and operated business.

Installation Gone to Earth , 2013 Mirror, black pen drawing, charcoal powder and reflection variable dimensions Gone to Earth was a piece created together with the installation P rivate landscapes in 2013 in the context of the Parérgon exhibition. Text Exhibition Gone to Earth, 2013 Gone to Earth, 2013 1/6

Projects Drawings in Shadow, 2011 Istanbul - The city and memory In the context of the project Travel to the interior of the lived cities I made an open residency in 2011 at Drawing Spaces in Lisbon. My project was to create a series of drawings based on my research experience in the city of Istanbul. Based on material collected on site, such as photographs, sounds or video images, a set of works were created that mirror the relationship established with this city. The Fort's Dream - (Fragment) , 2013 Video 13'00" Color/Sound Untitled, 2011 (small stories about Istanbul) Light table and set of two drawings Chinese ink on white paper 50X70cm (approximately) Untitled , 2011 Red elastics, nails, spotlight and sound installation Variable dimensions Drawing/Installation Drawings in Shadow, 2011 Overviews of the presentation of the work Open Residence - Drawing Spaces In memory, 2011 In memory, 2011 1/4 Untitled, 2011 Untitled, 2011 1/6 Untitled, 2011 Untitled, 2011 1/6 Exhibition overview - Drawing in Shadow Exhibition overview - Drawing in Shadow 1/11

Installation Penelope, 2014 Wood, cotton, wool, linen and silk thread, linen ball, instrument for weaving, chair and lead weights Variable dimensions

Installation Archeology of the present time , 2021 5 wooden displays with 19 pieces made with natural and artificial materials variable dimensions Installation Archeology of the present time is an installation made with artefacts that confuse those who try to decipher them. The installation devices are reminiscent of the 19th century Natural History Museums, but the pieces that are part of them reveal a strange nature. The materials they're made of seem to be from natural origin, but are they? And what nature is that? In the near future what will natural mean? And what species will exist as a reflection of this same nature? An installation that works as a Cabinet of curiosities with an expanded body that evokes a past time, presents a possible present and anticipates a vision of the future that reflects the changes of life on Earth. An Archeology of the Present Time, 2021 An Archeology of the Present Time, 2021 1/5

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