Skins that navigate in search of their identity, bodies that evolve moving away towards unknown territories. Six diverse and personal pieces that come together in an exploration of the individual, his representation and the traces he leaves in a timeless instant.

Through the use of alternative photographic processes, Fenia Kotsopoulou proposes a poetic and disturbing journey through the body and intimacy. In 50.000 TOUCHES(excerpt 3) the artist exposes her skin in each frame to deconstruct the normative narrative of identity. Experimentation in the margins of the image, an immersion in the deep desires and dreams that yearn to emerge from the subconscious.

A sequence of still images at high speed, where silhouettes and gestures are overlayed and repeated, in a kind of multiverse of the same and unique moment. In No me olvides by Juan Desteract the persistence of the image, the memory of it, remains in our retina. With frames and textures that are linked to those of surveillance cameras, we wonder who is looking and what to look at.

Celeste Rojas Múgica shows us the flight of kites, kites in the air, in an exploration of the act of playing. But in Encumbro (I-II) these fabric skins that rise up and let themselves be swayed by the wind, are also a projection of the body that tries to inhabit the space and meet others in an instant of fun and freedom. Drop and pick up thread as dreams are dropped and picked up.

The city is the body where forms, shadows and barely sketched figures are reflected, appearing for brief moments in space, leaving trails of their evolution. In Otras ciudades by Biviana Chauchi, the materiality of the city vanishes in a game of reflections and refractions, giving rise to a piece that avoids the obvious to embrace the imperceptible and blurry.

The Greek myth of Eurydice and Orpheus advances and shapes itself away from the romantic cliché in the conception of Inés García. The protagonist begins a cathartic journey here, we see a body that transforms and advances from the underworld to unknown territories. In Eurídice, the nymph appears to us as real, mistress of her identity, free from her destiny, on her way in search of the reflection of her subjectivity.

Aura Vega transforms conversations into a dance of sinuous shapes that slide across the screen. Murmullos is a film performance where the artist acts as a receiver of dialogues to then, in a direct and immediate way, scratch the skin of the film with her automatic, almost mechanical gesture. The word is no longer legible and the sound becomes visible. The semantics give way to the disorderly strokes that flood the projection.