This exhibition is built through the possible relationships between belonging, memory, dwelling and displacement, based on the works of Julia Angulo, Kaya Agari and Talita Zaragoza.

 

 

 

 

 

Understanding a house as a living space, how is it possible to inhabit such different universes in the same place, understanding - at the same time - the powers and complexities that arise from this encounter?

 

In this sense, the exhibition space emerges as a mediator between the works of the three artists, respecting both the individuality of their works and their personal trajectories. Kaya Agari, an indigenous artist and activist from the Kurâ Bakairi ethnic group, presents research that highlights the tradition of her people, whose graphics represent the body paintings used in village rituals.

in village rituals, in which each of the paintings presented in the show features a painting for each gender and age, and which are passed down from generation to generation as a form of cultural preservation.

 

If, on the one hand, Kaya affirms the need to reaffirm her territory and place of belonging, almost in opposition, Talita Zaragoza's research explores definitions of space and physical and imaginary borders, creating abstractions that dilute these borders, transforming them into a kind of landscape.

 

While Kaya and Talita's works come close and distance themselves to the same extent, in a kind of mirroring between reality and a utopia of the future, Julia Angulo puts these and many other issues on the couch, inviting us to process the world around us, sometimes in a free associative way, sometimes facing the words that surround our memories, in an attempt to perceive ourselves as part of this whole that surrounds us.

 

In this way, I take the environment of the house as a space in which different narratives seek to come closer to each other, but without going beyond the limits of the other; as in a metaphor between the intimate and the collective. But essentially, I'm bringing the idea of how to live with differences in a world where narrative disputes are becoming increasingly fierce. At least here, in this house, we have established poetics that make these coexistences possible, in an exercise of imagining that this will be the case in the near future.