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Remaining at the frontier

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The work of Florencia Almirón it’s a chorus of different voices that sound like echos, from every place she has been and arrived through ideas, desires and readings. Her artistic process gives place to an intimate, emotional and tactile relationship with the materials used. For this show, Reino Pretérito (Past Reign), she questions in different ways about the state ‘zero’ of the world’s experience, which is the same as of the arts. It is about works that construct a universe which could exist both at the beginning and at the end. For moments she gives a gaze from a distopic future, which already stands out in the present. She is an archaeologist who unravels the stored secrets of a planet on the verge of extinction, collecting fragments and submitting them under sensitive and precise operations of observation.
 

Florencia Almirón’s artistic reflection seeks a bridge towards contemporary problematics. A feminist ontology permeates the object’s surfaces beyond dichotomies, articulating what could be an opposition: the living and the inert, the liquid and the dried, the human-industrial-animal; bringing to the studio the cyborg’ s premise, which allows to retrace the genres, in the first place, but immediately opens an interrogation on the strict subdivisions of the categories.
 

Art allows her to stop the thinking just before determining definitions. Observing instead, the space in between them, the suspending doubt just before the resolution. As Donna Haraway states ,staying with the trouble’. That careful examination appears in the petrification of woman whose gazes seem blocked perhaps by the accumulation of discarded materials, which could come from industrial or organic waste. The same occurs with the metallic sculpture, whose working goggles derived into completely opaque binoculars, contradicting the possibility of seeing beyond or seeing faraway. Inspired by cyborg feminism, all the works are hybrids between machines and living organisms, real creatures but also fictional and mythological. The primal gestures come back to the problem of the origin, but of an ontological origin more than a historical, which holds the question about the sense of life.
 

Florencia avoids opening any judgment, she eludes any problem-solution’ s temptation. Is the bite the primitive gesture or, instead, the prehensile instinct, pressing strongly the malleable materiality as if holding on something in order not to fall into the abyss? Perhaps, the experience that this exhibition opens is the unsolved movement, swinging, between the fear towards the other, the preparation against
the potential external aggression, and the always renovated desire of adherence to someone or something, the desire to live together in this world and to find words to name it.

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