Different Moments of What Grows from the Ground, 2025.

20 febr-16 apr 

Tiempo Gallery

Central affair, Buenos Aires, Argentina

Curator: Carlos Gutierrez

Curatorial text: Carlos Gutierrez

 

“There is no repetition of charms or spells, no acts of sympathetic magic that can turn a block of flint into an arrowhead or a knife.”

(Lewis Mumford, 1961)

 

Technique is a force that spans generations and restores the intimate contact between hands and material:

 

This exhibition includes works from different periods of production and adopts a format that seeks to hinder the isolated reading of each piece. In Eugenia Mendoza’s work, wicker, metal, sandpaper, and tools are extensions of a restless body that recognizes itself as part of a rather sinuous and erratic genealogy. Without forgoing narrative hints, throughout her entire project, technique is the dance that allows things to come into contact and learn from each other—about limits and potentials. She forges paths through processes in which each task demands an effort akin to that required for a plant to grow, and where transformation is imminent.

 

The inescapable strangeness of the woven tears through the boundaries of fiction:

 

Using natural fibers and industrial elements—or some of their traits—the artist constructs works by interweaving structural, formal, and symbolic relationships. She delves into the strata of things, their histories and evolutions, confronting the gaps that prevent a connection between the past and our present, thus making room for a material synergy populated by familiar references. When a piece of sandpaper leaves the machine and joins others to form a tapestry, it becomes a small victory for the neglected, where wear and friction map out the coordinates for reading a time folding back onto itself. The disproportion between each piece and the model it originates from reveals the need to organize our gaze around something even more vast and elusive—something that operates both within and beyond our perception and is capable of altering the course of our lives.

 

Translating an object is like caressing it and taking it for a walk:

 

Mendoza observes, selects, and analyzes objects—she approaches them with the will of a scribe, studying their function and form as if they were words open to translation. She takes measurements, documents them, and seeks to inscribe herself in the life of the object before paraphrasing them in wicker and bronze. Once exposed to new settings, siphons, towers, chains, hooks, and bellows work to introduce the key to a project as sensitive as it is monumental: to exist in another way.

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Carlos Gutierrez, 2025.