HOGAR - exhibition

πΏπ‘Žπ‘  π‘œπ‘π‘Ÿπ‘Žπ‘ , π‘œπ‘π‘’π‘’π‘ π‘‘π‘Žπ‘  𝑦 π‘ π‘’π‘šπ‘’π‘—π‘Žπ‘›π‘‘π‘’π‘ , π‘›π‘œπ‘  π‘–π‘›π‘£π‘–π‘‘π‘Žπ‘› π‘Ž π‘™π‘Ž π‘ π‘’π‘ π‘π‘’π‘›π‘ π‘–π‘œΜπ‘› 𝑑𝑒𝑙 π‘‘π‘–π‘’π‘šπ‘π‘œ, 𝑒𝑛 𝑒𝑛 π‘£π‘’π‘Ÿπ‘‘π‘Žπ‘‘π‘’π‘Ÿπ‘œ π‘˜π‘Žπ‘–π‘Ÿπ‘œΜπ‘ , π‘›π‘œπ‘  π‘‘π‘’π‘‘π‘’π‘›π‘’π‘šπ‘œπ‘  π‘Ž π‘šπ‘–π‘Ÿπ‘Žπ‘Ÿ π‘™π‘Ž π‘šπ‘–π‘Ÿπ‘Žπ‘‘π‘Ž 𝑑𝑒 π‘™π‘œπ‘  π‘Žπ‘Ÿπ‘‘π‘–π‘ π‘‘π‘Žπ‘ , π‘žπ‘’π‘’, π‘§π‘Žπ‘šπ‘π‘’π‘™π‘™π‘–π‘‘π‘œπ‘  𝑒𝑛 π‘™π‘Ž π‘‘π‘’Μπ‘π‘›π‘–π‘π‘Ž, π‘Ÿπ‘’ β„Žπ‘Žπ‘π‘–π‘‘π‘Žπ‘› 𝑠𝑒𝑠 π‘’π‘ π‘π‘Žπ‘π‘–π‘œπ‘  𝑠𝑖𝑛 π‘‘π‘–π‘’π‘šπ‘π‘œ, π‘Žπ‘šπ‘π‘™π‘–π‘ŽΜπ‘›π‘‘π‘œπ‘™π‘œπ‘  𝑦 𝑒π‘₯π‘π‘Žπ‘›π‘‘π‘–π‘’Μπ‘›π‘‘π‘œπ‘™π‘œπ‘  𝑠𝑖𝑛 π‘šπ‘–π‘’π‘‘π‘œ. // The works, opposite and similar, invite us to suspensionof time, in a true kairos. stop to look at the gaze of the artists, who,immersed in technique, they re-inhabit their timeless spaces, expanding them andexpanding them without fear

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πΏπ‘Žπ‘  π‘œπ‘π‘Ÿπ‘Žπ‘ , π‘œπ‘π‘’π‘’π‘ π‘‘π‘Žπ‘  𝑦 π‘ π‘’π‘šπ‘’π‘—π‘Žπ‘›π‘‘π‘’π‘ , π‘›π‘œπ‘  π‘–π‘›π‘£π‘–π‘‘π‘Žπ‘› π‘Ž π‘™π‘Ž π‘ π‘’π‘ π‘π‘’π‘›π‘ π‘–π‘œΜπ‘› 𝑑𝑒𝑙 π‘‘π‘–π‘’π‘šπ‘π‘œ, 𝑒𝑛 𝑒𝑛 π‘£π‘’π‘Ÿπ‘‘π‘Žπ‘‘π‘’π‘Ÿπ‘œ π‘˜π‘Žπ‘–π‘Ÿπ‘œΜπ‘ , π‘›π‘œπ‘  π‘‘π‘’π‘‘π‘’π‘›π‘’π‘šπ‘œπ‘  π‘Ž π‘šπ‘–π‘Ÿπ‘Žπ‘Ÿ π‘™π‘Ž π‘šπ‘–π‘Ÿπ‘Žπ‘‘π‘Ž 𝑑𝑒 π‘™π‘œπ‘  π‘Žπ‘Ÿπ‘‘π‘–π‘ π‘‘π‘Žπ‘ , π‘žπ‘’π‘’, π‘§π‘Žπ‘šπ‘π‘’π‘™π‘™π‘–π‘‘π‘œπ‘  𝑒𝑛 π‘™π‘Ž π‘‘π‘’Μπ‘π‘›π‘–π‘π‘Ž, π‘Ÿπ‘’ β„Žπ‘Žπ‘π‘–π‘‘π‘Žπ‘› 𝑠𝑒𝑠 π‘’π‘ π‘π‘Žπ‘π‘–π‘œπ‘  𝑠𝑖𝑛 π‘‘π‘–π‘’π‘šπ‘π‘œ, π‘Žπ‘šπ‘π‘™π‘–π‘ŽΜπ‘›π‘‘π‘œπ‘™π‘œπ‘  𝑦 𝑒π‘₯π‘π‘Žπ‘›π‘‘π‘–π‘’Μπ‘›π‘‘π‘œπ‘™π‘œπ‘  𝑠𝑖𝑛 π‘šπ‘–π‘’π‘‘π‘œ.
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The works, opposite and similar, invite us to suspensionof time, in a true kairos. stop to look at the gaze of the artists, who,immersed in technique, they re-inhabit their timeless spaces, expanding them andexpanding them without fear

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π‘€π‘Žπ‘Ÿπ‘–Μπ‘Ž, 𝑑𝑒𝑠𝑑𝑒 π‘™π‘Ž π‘π‘œπ‘‘π‘–π‘‘π‘–π‘Žπ‘›π‘–π‘‘π‘Žπ‘‘ 𝑑𝑒 𝑠𝑒 π»π‘œπ‘”π‘Žπ‘Ÿ 𝑠𝑒 π‘π‘Ÿπ‘œπ‘π‘œπ‘›π‘’, 𝑦 π‘›π‘œπ‘  π‘π‘Ÿπ‘œπ‘π‘œπ‘›π‘’, 𝑒π‘₯π‘π‘™π‘œπ‘Ÿπ‘Žπ‘Ÿ π‘™π‘Žπ‘  π‘šπ‘’Μπ‘™π‘‘π‘–π‘π‘™π‘’π‘  π‘‘π‘–π‘šπ‘’π‘›π‘ π‘–π‘œπ‘›π‘’π‘  𝑑𝑒 𝑠𝑒 π‘šπ‘œπ‘Ÿπ‘Žπ‘‘π‘Ž. πΏπ‘Ž 𝑒π‘₯π‘Žπ‘π‘‘π‘Ž π‘π‘Ÿπ‘’π‘ π‘–π‘œΜπ‘› π‘–π‘šπ‘π‘Ÿπ‘–π‘šπ‘’ π‘™π‘Ž π‘ π‘’π‘π‘—π‘’π‘‘π‘–π‘£π‘–π‘‘π‘Žπ‘‘ 𝑑𝑒 𝑠𝑒 β„Žπ‘Žπ‘π‘–π‘‘π‘Žπ‘‘.
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MarΓ­a, from the daily life of her Home, proposes, and proposes to us, to explore the multipledimensions of his dwelling. The exact pressure imprints the subjectivity of its habitat,
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πΈπ‘šπ‘šπ‘Žπ‘›π‘’π‘’π‘™, π‘‘π‘Ž π‘£π‘’π‘’π‘™π‘‘π‘Ž 𝑒𝑙 π‘‘π‘–π‘’π‘šπ‘π‘œ 𝑦 π‘π‘œπ‘›π‘£π‘–π‘’π‘Ÿπ‘‘π‘’ 𝑒𝑛 𝑒́𝑑𝑖𝑙 𝑒𝑛 𝑒𝑛 π‘Žπ‘™π‘‘π‘Žπ‘Ÿ, 𝑒𝑛 π‘π‘Žπ‘›π‘π‘œ 𝑒𝑛 𝑒𝑛 π‘‘π‘Ÿπ‘–π‘™π‘–π‘‘π‘–π‘π‘œ. 𝐸𝑙 π‘ π‘–π‘™π‘’π‘›π‘π‘–π‘œ 𝑑𝑒𝑙 π‘‘π‘–π‘’π‘šπ‘π‘œ π‘π‘œπ‘›π‘”π‘’π‘™π‘Žπ‘‘π‘œ π‘”π‘Ÿπ‘–π‘‘π‘Ž 𝑦 π‘π‘’π‘’π‘ π‘‘π‘Ÿπ‘œπ‘  π‘π‘œπ‘›π‘‘π‘’π‘₯π‘‘π‘œπ‘  π‘Žπ‘‘π‘–π‘’π‘›π‘‘π‘’ π‘Ž 𝑠𝑒 π‘π‘’π‘‘π‘–π‘‘π‘œ.Β  πΏπ‘Ž π‘–π‘›π‘žπ‘’π‘–π‘’π‘‘π‘Ž π‘π‘™π‘’π‘šπ‘Ž π‘Ÿπ‘’π‘‘π‘Ÿπ‘Žπ‘‘π‘Ž 𝑠𝑒 π‘π‘’π‘‘π‘Žπ‘π‘–π‘‘π‘œ 𝑑𝑒𝑙 π‘šπ‘’π‘›π‘‘π‘œ π‘‘π‘’π‘ β„Žπ‘Žπ‘π‘–π‘‘π‘Žπ‘‘π‘œ, π‘Ÿπ‘’π‘ π‘Žπ‘™π‘‘π‘Žπ‘›π‘‘π‘œ 𝑠𝑒 π‘ŽΜπ‘’π‘Ÿπ‘’π‘Ž 𝑦 π‘Ÿπ‘’π‘£π‘–π‘Ÿπ‘‘π‘–π‘’π‘›π‘‘π‘œ 𝑠𝑒 π‘π‘Ÿπ‘œπ‘π‘œΜπ‘ π‘–π‘‘π‘œ. 𝐸𝑙 π‘‘π‘–π‘’π‘šπ‘π‘œ 𝑣𝑒𝑒𝑙𝑣𝑒 π‘Ž π‘‘π‘Žπ‘Ÿ π‘™π‘Ž π‘œπ‘π‘œπ‘Ÿπ‘‘π‘’π‘›π‘–π‘‘π‘Žπ‘‘ 𝑒𝑛 𝑒𝑙 π‘‘π‘Žπ‘™π‘™π‘’π‘Ÿ, π‘‘π‘Žπ‘›π‘‘π‘œ π‘“π‘œπ‘Ÿπ‘šπ‘Ž(𝑠) π‘Ž π‘™π‘Žπ‘  π‘–π‘šπ‘ŽΜπ‘”π‘’π‘›π‘’π‘  π‘žπ‘’π‘’ β„Žπ‘œπ‘¦ π‘£π‘’π‘šπ‘œπ‘ , π‘Ÿπ‘’ π‘’π‘›π‘π‘’π‘Žπ‘‘π‘Ÿπ‘Žπ‘›π‘‘π‘œ 𝑒𝑙 π‘˜π‘Žπ‘–π‘Ÿπ‘œπ‘  π‘π‘’π‘‘π‘Ÿπ‘’π‘”π‘œπ‘ π‘œ.
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Emmanuel, turns time around and turns a tool into an altar, a bench into a trilithic. Hesilence of frozen time screams and Our contexts attend to your request. The restless pen portrays its little piece of the worlduninhabited, highlighting its golden color and reversing its purpose. Time returns toopportunity in the workshop, giving shape(s) to the images we see today, reframing thestony kairos
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@emma.frutosrojos ................................................................................@cierimaria
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