{"id":215047,"date":"2026-06-09T02:35:51","date_gmt":"2026-06-09T08:35:51","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=215047"},"modified":"2026-06-09T05:28:33","modified_gmt":"2026-06-09T11:28:33","slug":"clinica-membrana","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/clinica-membrana\/","title":{"rendered":"Cl\u00ednica membrana"},"content":{"rendered":"

What pieces or projects have you been working on lately?
<\/strong>Durante los \u00faltimos meses he estado desarrollando Cl\u00ednica Membrana<\/em>, un proyecto que parte de una pregunta muy simple: \u00bfqu\u00e9 pasa cuando dejamos de entender el cuerpo como algo cerrado?<\/p>\n\n\n\n

La exposici\u00f3n re\u00fane esculturas, fotograf\u00edas, objetos, experimentos textiles y un video-performance en vivo que funciona como una extensi\u00f3n de la investigaci\u00f3n. En \u00e9l, una voz lee una serie de registros cl\u00ednicos ficticios mientras la frontera entre observador y paciente comienza a desdibujarse. Me interesaba construir una situaci\u00f3n donde el contagio no fuera biol\u00f3gico, sino perceptual.<\/p>\n\n\n\n

Gran parte de las piezas nacieron de procesos de experimentaci\u00f3n textil. Me interesa la costura porque comparte algo con la cirug\u00eda, con la reparaci\u00f3n y con la construcci\u00f3n de tejido. Muchas de las obras parten de injertos, suturas, tensiones y transformaciones materiales que terminan pareciendo organismos, restos arqueol\u00f3gicos o fragmentos de una anatom\u00eda imposible.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What did you learn (or unlearn) while working on them?
<\/strong>Aprend\u00ed que no todo proceso de transformaci\u00f3n produce una forma m\u00e1s estable.<\/p>\n\n\n\n

Durante mucho tiempo pens\u00e9 la creaci\u00f3n como una b\u00fasqueda de resoluci\u00f3n, pero este proyecto me hizo interesarme m\u00e1s por los estados intermedios: aquello que todav\u00eda est\u00e1 cambiando, aquello que no termina de definirse.<\/p>\n\n\n\n

Tambi\u00e9n desaprend\u00ed la necesidad de encontrar significados claros para cada decisi\u00f3n. Hay materiales que entienden algo antes que una misma.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What words, ideas or emotions were going through your head?
<\/strong>Membrana, umbral, injerto, contagio, cicatriz, observaci\u00f3n, crecimiento, mutaci\u00f3n, archivo y transformaci\u00f3n.<\/p>\n\n\n\n

Pensaba mucho en los momentos en que una estructura todav\u00eda no sabe lo que ser\u00e1. En sistemas nerviosos que se forman, en tejidos que se pliegan sobre s\u00ed mismos y en cuerpos que est\u00e1n cambiando todo el tiempo.<\/p>\n\n\n\n

M\u00e1s que una emoci\u00f3n espec\u00edfica, me rondaba una sensaci\u00f3n de incertidumbre. La idea de que cualquier forma, incluso nuestro propio cuerpo, est\u00e1 mucho menos terminada de lo que creemos.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Were there any conversations, movies, music, or books that made their way into that work?
<\/strong>Gran parte de la investigaci\u00f3n surgi\u00f3 a partir de un archivo cl\u00ednico personal que he guardado durante a\u00f1os. Volv\u00ed a revisar estudios, im\u00e1genes y diagramas anat\u00f3micos relacionados con una condici\u00f3n cong\u00e9nita vinculada al desarrollo de la columna vertebral y la m\u00e9dula espinal. Ese material me llev\u00f3 a interesarme cada vez m\u00e1s por los procesos de formaci\u00f3n del cuerpo, el desarrollo embrionario y las estructuras que sostienen un organismo.<\/p>\n\n\n\n

No me interesaba tanto la dimensi\u00f3n m\u00e9dica del archivo como las preguntas que aparec\u00edan al revisarlo. C\u00f3mo se forma un cuerpo. C\u00f3mo se desarrolla una estructura. Qu\u00e9 ocurre cuando ese proceso toma un camino inesperado. Muchas de las formas presentes en Cl\u00ednica Membrana<\/em> nacieron de esa observaci\u00f3n.<\/p>\n\n\n\n

Tambi\u00e9n estuvieron presentes lecturas sobre anatom\u00eda, embriolog\u00eda y morfog\u00e9nesis, d\u00e1ndome espacio a una interpretaci\u00f3n un poco m\u00e1s filos\u00f3fica y est\u00e9tica. Especialmente On Growth and Form<\/em> de On Growth and Form y The Body in Pain<\/em> de The Body in Pain.<\/p>\n\n\n\n

En el taller escuch\u00e9 mucho a Tim Hecker, Arvo P\u00e4rt, Coil y Brian Eno.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What's been the most difficult thing you've faced recently in your creative process?
<\/strong>Aceptar que la investigaci\u00f3n no siempre produce resultados visibles.<\/p>\n\n\n\n

Vivimos rodeados de una presi\u00f3n constante por mostrar, publicar y terminar cosas. Lo m\u00e1s dif\u00edcil ha sido defender los momentos donde todav\u00eda no existe una obra, donde s\u00f3lo hay observaci\u00f3n, dudas o asociaciones aparentemente inconexas.<\/p>\n\n\n\n

Muchas veces el trabajo m\u00e1s importante ocurre antes de que exista algo que fotografiar.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Which studios, laboratories, or workshops have you collaborated with recently or would you like to collaborate with in the future?
<\/strong>Me interesa colaborar con laboratorios de biomateriales, talleres textiles experimentales, talleres de m\u00e1rmol y espacios donde la investigaci\u00f3n cient\u00edfica y la producci\u00f3n art\u00edstica puedan contaminarse mutuamente.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Recommend one or more artists you follow who inspire you, and tell us what you like most about their work or their way of working.
<\/strong>Berlinde De Bruyckere, porque consigue que la materia parezca contener memoria.<\/p>\n\n\n\n

Patricia Piccinini<\/strong><\/a>, por la manera en que utiliza la ficci\u00f3n para expandir nuestra idea de lo que puede considerarse un cuerpo.<\/p>\n\n\n\n

Kiki Smith, porque trabaja desde la vulnerabilidad sin renunciar a la precisi\u00f3n.<\/p>\n\n\n\n

Anicka Yi<\/strong><\/a>, por la forma en que mezcla biolog\u00eda, percepci\u00f3n y especulaci\u00f3n para imaginar nuevas maneras de entender lo vivo.<\/p>\n\n\n\n

Me inspiran especialmente los artistas que permanecen durante a\u00f1os dentro de una misma pregunta y permiten que esa pregunta transforme su lenguaje.<\/p>","protected":false},"excerpt":{"rendered":"

Vivimos rodeados de una presi\u00f3n constante por mostrar, publicar y terminar cosas. Lo m\u00e1s dif\u00edcil ha sido defender los momentos donde todav\u00eda no existe una obra, donde s\u00f3lo hay observaci\u00f3n, dudas o asociaciones aparentemente inconexas. Muchas veces el trabajo m\u00e1s importante ocurre antes de que exista algo que fotografiar.<\/p>","protected":false},"author":8518,"featured_media":215048,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17849],"tags":[],"class_list":["post-215047","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"acf":[],"mb":[],"yoast_head":"\nCl\u00ednica membrana - ERRR MAGAZINE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/errr-magazine.com\/english\/clinica-membrana\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cl\u00ednica membrana - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"Vivimos rodeados de una presi\u00f3n constante por mostrar, publicar y terminar cosas. 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