Ana Mazzei
To enter the Vaulted Hall of Condeduque, one must descend. And yet, upon descending, light appears: the slope of the terrain opens the space to the outside in an unexpected way. One must sink a little into the earth to find the exit. This paradox is also the essence of this exhibition. As María Zambrano said: “To think is to descend, and poetic reason descends to where reason alone cannot reach.” (Clearings in the Forest, 1977).
Thus, the proposal is not merely to visit but to traverse a place that unfolds in spaces where being is not a fixed condition but something that is molded and shifted, leading you to occupy the space in a different way because it is shaped in the encounter. The works of Carmen de Ayora, Ludovica Carbotta, Elán d'Orphium, Jorge Eielson, Toni Hervás, Jimena Kato, Ángeles Marco, Ana Mazzei, Sofía Montenegro, and Eulàlia Valldosera create the conditions for these encounters. They represent a commitment to communicating with other spheres and entities, an attempt to reorganize community that evolves into rituals, appearing not as eccentric alternatives but as systems with their own legitimacy and logic. As the philosopher Yuk Hui points out, modernity was not the only possible way of relating to the cosmos; it was simply the one that managed to pass itself off as universal. This exhibition acknowledges other ontological systems, such as the one based on the Eastern conception of the ineffable, rediscovered by Federico Campagna, which denies the preeminence of the useful, the measurable, and the classifiable.