MATERIA AFECTIVA
POROUS BODY UNDER CONSTRUCTION
Madrid, Sala de Arte Jóven 2025
Curator Carmen Lael Hines and Robert Majano
Artists @casantillon @arvidabystrom @samscottfs @lucia.ugena @miut_prrr @andreamuniain @elenarocabert @cyberwitch666
Grafic design Clara Pessanha
POROUS BODY UNDER CONSTRUCTION, 2025
Carmen and Roberto asked me to think of the exhibition space of Materia Afectiva as an artwork in itself. This was something new for me. So I decided to approach the space as a living organism — one in constant construction.
I imagined a porous body, where structures remain exposed, joints are not hidden, and the finishes — irregular, vulnerable — insist on the unfinished. The materiality hovers between the utilitarian and the provisional, revealing its symbolic, material, and political dimensions.
I began making holes in the walls to connect the rooms — opening windows, peepholes, or glory holes that invite the viewer to look and be looked at. A gesture that turns the spectator into a voyeur and raises questions about the angles from which we observe and from which we are observed.
All the materials used were industrial and standardized — almost cold — yet placed in friction with translucent membranes, fragile surfaces, and liquid bodies. The separations between works were translucent, generating tension between them and disrupting the notion of privacy.
This is soft and dirty architecture: one that operates through adaptability, instability, and emotionality. It opens and suggests through skins that break, membranes that stretch, and liquids that stain. Another embraces the relational, the uncertain, and the contaminated.
A space that hybridizes through cracks, fissures, and leaks. That resists full closure. That invites us to inhabit it without certainty. A body under construction — always exposed to the gaze, to contact, to the outside.
