There are only images and nothing but images unfolding infinitely. Fleeting movements, connections of images and gestures that explore the intersection between movement, perception, the unconscious – conscious and the relationship between the human – mechanical.

Through repetition and audiovisual assemblage, the pieces provocatively juxtapose everyday and poetic elements that invite us to question our most ingrained perceptions.

An evocative juxtaposition of different elements that reflect on the nature of everyday gestures, our notion of the domestic and the transition between reality and illusion. Questioning everyday interactions and perception of the world around us to go beyond the obvious, how do we experience and perceive codes of our environment?

Maya Schweizer’s Errant Gestures acts as a fluid choreography that interweaves the intentional and unintentional gestures of various people. The work explores how these seemingly simple movements connect to different states of consciousness. Narrated by the voice of philosopher Vilém Flusser, reflecting on movement patterns and their deep connections to the human mind. Gestures, seemingly trivial, are part of a complex system of relations between the conscious and the unconscious, redefining our interaction with the environment.

In Hsin-Yu Chen and Jessi Ali Lin’s Semiotics of the Home, construction machines become the protagonist bodies of everyday household tasks, displacing our traditional notions of the domestic. This playful and subversive inversion radically alters our perceptions. The work deconstructs the notion of the familiar and the functional, imagining other ways of inhabiting and relating to the environment.

Universe II, by Mauricio Alejo, a simple gesture converted into the axis of a perceptual transformation. A simple gesture, a change of perception through the illusory that reveals the fragility of our visual beliefs.

Text: Mia de Diego