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KNOWING BY EAR – Silent Singers; Wandering Apprentices
In her book Claros del bosque (Forest Glades, 1977), the philosopher María Zambrano reflects on these clearings as spots where we manage to discover, however briefly, a certain “play of images” that “does and undoes reality”, allowing us to silence “the rituals of existence” and listen to “the silent word”. This idea has led us to think about the exhibition spaces of the C3A as clearings too, making the most of their layout to shape the circular, kaleidoscopic process of Cristina Mejías.
Erring and wandering are both a fundamental part of this aesthetic proposal. Wandering from one clearing to another, learning by trial and error, are an indispensable part of Cristina’s work. As we enter the exhibition hall, we pass, “from one center to another, without losing any of them along the way”. Much like in certain classical...Moreexpand_more
KNOWING BY EAR – Silent Singers; Wandering Apprentices
In her book Claros del bosque (Forest Glades, 1977), the philosopher María Zambrano reflects on these clearings as spots where we manage to discover, however briefly, a certain “play of images” that “does and undoes reality”, allowing us to silence “the rituals of existence” and listen to “the silent word”. This idea has led us to think about the exhibition spaces of the C3A as clearings too, making the most of their layout to shape the circular, kaleidoscopic process of Cristina Mejías.
Erring and wandering are both a fundamental part of this aesthetic proposal. Wandering from one clearing to another, learning by trial and error, are an indispensable part of Cristina’s work. As we enter the exhibition hall, we pass, “from one center to another, without losing any of them along the way”. Much like in certain classical...Moreexpand_more
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