De caminar sobre el borde

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     One day in November 1974 a telephone rings in Munich. The call from Paris made a sad and incomprehensible announcement. Someone was, unexpectedly, about to die and that could not  still happen. For Warner Herzog, who was a young filmmaker in those years, it was inadmissible  that Lotte Eisner, the mentor of the New German Cinema, died. At the news, an unexpected impulse was  transformed into a spell. Herzog took his jacket, the compass, a bag with the essentials, his boots  new and set out on a straight walk toward Paris. For twenty-one days he walked with the firm belief that she would still be alive if he went on foot.  

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      If we exclude from this reflection walking as a means of transport, that is, the way in which  walking serves us interested and technically to go daily from one place to another, we can risk that there are at least two other ways to do it. One is the one in which you walk without a destination, with the dedication of advancing with one foot on the other without expecting anything beyond the horizon. Is what i know  called dry walking. The other is perhaps the one that is performed under a rhythm that oscillates between the  absurd and epic. Here to walk is to make walking an experience that borders on the sacred.  

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     By recognizing the way in which the works that are gathered in the room have been made, the action walking appears as a way of probing and marking the surface by which the artists  displace. In the works of Mara Caffarone, María Elisa Luna, Julia Masvernat, Kirsten Mosel and Jessica  Trosman filters a subtle impulse that introduces us to the open space, the shared space, the public. I know  sneaks the city, travel and unusual places as a quarry of imprecise sketches that are later  they transform, slowly but surely, into edges of new forms. These edges materialize when  cutting or piercing a flat surface, denting a weft or seemingly soft object, or marking  the limits of transparency and retrace a knot of lines.  

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     The edge as demarcation, edge and limit of an object, is the area of contact with the outside and to the  at the same time what radically constitutes his figure. From walking on the edge gathers a set of  works that mark this limit space of forms, traverse the arbitrary -although definitive- zone of the  things and move between cutwork, painting and modeling. The edge here is not so much a line on the  flat as an action on the material: openwork vinyl, dented cloth, cut glass, cut wood. The relationship of the edge with the space creates a grammar and finally proposes different ways of walking on the edge of the glass, the edge of a wall, the thickness of a line, the margin of a leaf, the  edge of a stain, the edge of fabrics, the overhang of a fold, the edges of the room, the limit of things.  

 

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