"Are horizons, and horizons are at an infinite distance", 2014. Blue paper boats. Installation that arises from a quote from the essay "The Inhuman", by J. F. Lyotard, reproduced in salt on the floor. Variable measures, 7 x 2 m aprox.

"Are horizons, and horizons are at an infinite distance", 2014. Blue paper boats. Installation that arises from a quote from the essay "The Inhuman", by J. F. Lyotard, reproduced in salt on the floor. Variable measures, 7 x 2 m aprox.

Installation view

Installation view

"Bitácora", 2015. Sheets of old books of different subjects intervened with colored wax and candle wick. 23 x 240 x 4 cm.

"Bitácora", 2015. Sheets of old books of different subjects intervened with colored wax and candle wick. 23 x 240 x 4 cm.

Detail "Bitácora", 2015.

Detail "Bitácora", 2015.

"Paraje de silencio: the sail of the ship", 2015. Book sheets edited between 1940 and 1960, twisted yarn and colored wax. 110 x 197 x 3 cm. aprox.

"Paraje de silencio: the sail of the ship", 2015. Book sheets edited between 1940 and 1960, twisted yarn and colored wax. 110 x 197 x 3 cm. aprox.

Exhibition view

Exhibition view

"The Poet’s wings X", 2016. Matches, feathers, wood, sandpaper and glass lantern. 29,5 x 15,5 cm.

"The Poet’s wings X", 2016. Matches, feathers, wood, sandpaper and glass lantern. 29,5 x 15,5 cm.

"Break the silence", 2012. Glass and woven silver thread. 190 x 60 x 60 cm.

"Break the silence", 2012. Glass and woven silver thread. 190 x 60 x 60 cm.

"True Histories: Common Ground", 2014. Paper, adhesives, methacrylate. 21 x 21 x 20 cm. aprox.

"True Histories: Common Ground", 2014. Paper, adhesives, methacrylate. 21 x 21 x 20 cm. aprox.

"Act without words II", 2014. Seeds, paper, wood and glass. 30 x 86 x 10 cm.

"Act without words II", 2014. Seeds, paper, wood and glass. 30 x 86 x 10 cm.

"Alzacuellos para aprender a contar historias II", 2015. Pearls, paper, set letter, silver thread, organza and sequins on a satin-lined base, in lacquered wooden display case, with methacrylate box as an option. 15 x 42 x 42 cm.

"Alzacuellos para aprender a contar historias II", 2015. Pearls, paper, set letter, silver thread, organza and sequins on a satin-lined base, in lacquered wooden display case, with methacrylate box as an option. 15 x 42 x 42 cm.

"Alzacuellos para aprender a contar historias I", 2015. Organza, golden thread, seeds and pistils on satin-lined base, in lacquered wood display case, with methacrylate box option. 15 x 42 x 42 cm.

"Alzacuellos para aprender a contar historias I", 2015. Organza, golden thread, seeds and pistils on satin-lined base, in lacquered wood display case, with methacrylate box option. 15 x 42 x 42 cm.

"Alzacuellos para aprender a dejar de contar de historias", 2015. Book spines, silver thread and green thread on satin-lined base, in lacquered wood display case, with methacrylate box option. 15 x 42 x 42 cm.

"Alzacuellos para aprender a dejar de contar de historias", 2015. Book spines, silver thread and green thread on satin-lined base, in lacquered wood display case, with methacrylate box option. 15 x 42 x 42 cm.

Silent places. Voiceless Calligraphies

Rocío Garriga

from January 24, 2015 to March 6, 2015

Darkness from which I descend,
I love you more than the flame
that sets limits to the world.

Rilke. The Book of Hours.

There are spaces whose limits are relative, diffuse and even only apparent; these spaces are mostly created by silence. In them inhabit the words with which we translate them, the images that we associate with them or that they present to us, the affections that we project on them.

The exhibition Silent places. Voiceless Calligraphies of the artist Rocío Garriga constitutes the attempt and the search to create and find these spaces. The title of the exhibition synthesizes, not as a closing but as a principle, a series of places that have been created to inhabit the opening of the limit. That is why it is centered on silent places, because they are spaces that tend to be isolated and to be placed far away, because place is also the state in which a thing is; that is why the word calligraphies was chosen, because by making these spaces visible we have written them in our own way.

Rhetoric in all its figures generates poetic spaces that are not defined: it is not only text, it is also image and it is in objects, in the association of their meaning and use. The rhetoric thus understood is a source of openness, it is any possible discourse, it is beyond words: it is action and result, it is found in the translation that we make of the space of silence that it itself creates, in the images that it presents to us.

There is no light in it, it is search: a search that takes place in darkness and erases the limits of the world.

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