top of page

Abrigo de roca

Since the mid-nineteenth century, the domestic interior began to emerge as a common place in which everyday life unfolds. From that time, in the same way, it begins to appear as an object of speculation of many authors. The initial literature on this spatial location ranges from the first books on arrangement or design to classic texts or novels that are, in themselves, treatises on the domestic interior, such as "The Philosophy of Furniture" (1840) by Edgar Allan Poe or the delirious À rebours (1884) written by Joris-Karl Huysmans. In the philosophical project that Walter Benjamin elucidated in the 1930s, the interior occupied a leading place. For example, he dedicated a section (Konvolut) to this space in his unfinished project Los Pasajes. In one of his posts he wrote:
"Domestic interior of the 19th century. The space disguises itself - it wears, like a seductive creature, the costumes of the moods" and compares it to  "a mood ": that of "hashish intoxication" that "focuses on satanic satisfaction, knowledge satanic, satanic calm, indicating precisely to what extent the interior of the nineteenth century is in itself a stimulus for drunkenness and sleep. "
Without being exempt from certain ambiguity, the work of these authors reveals how the interior represents a location with the potential to dislocate habitual experiences, among others, in relation to the perception of time and memory as well as the relationships that are sustain with objects. These issues can be identifiable since they start from common and shared experiences that take place in the home, which seem to escape the links that a discourse can articulate.
Abrigo de roca deals with this interior space, as a situation that allows altering temporal and material orders. A other-space, which under a certain arrangement can allow different types of experiences. The Satanism to which Benjamin alludes in his quote deals precisely with this: On altering the order of the "good" that governs daily life and that is related, within the production of the German author, with the idea of capitalism that is lived as a religion .
While it may evoke a strange image, the title of this exhibition refers to the sections of the mountains and slopes that preserve archaic paintings; sites that may have been one of the first symbolic spaces in which relationships were established through images.

Daniel Garza Usabiaga

Daniel Garza Usabiaga

Artists: Lucía Oceguera, Jorge Rosano Gamboa, Carlos Vielma, Alicia Ayanegui, Maximiliano Rosiles

bottom of page