Emptiness has its charm

•

 

Choreography for the earth.
Moving in and out of the landscape, inhabiting matter.
Bringing mystery to the image.
Touching with skin of rock, rose, bark.
Entering and leaving its arms.

 

• 
• 
• 

 

A sensitive investigation into the relationship between body, landscape and matter. My pieces propose a choreography for the earth: a continuous movement between the inside and outside of the territory, where the body allows itself to be affected by the textures, rhythms and forces of the environment.

Through photography and performance, these pieces address birth, transformation and death as permeable states. The body merges with rock, bark, flowers; it touches and is touched, entering and leaving the arms of the landscape. In this transition, emptiness appears not as absence, but as potential: a space of passage where life is reconfigured and reborn in other material forms, whether plant or mineral.

 

• 
• 

CHOREOGRAPHIES FOR THE EARTH

10 photographs, 20×20 cm + Photographic self-portrait. 75×60 cm

 

• 
• 

IT WAS MORNING

3 photographs, 45×60 cm

 

• 

 

SOMETIMES I EMPTY MYSELF

Duration performance (120 minutes)

Sometimes I empty myself is a duration performance that investigates the relationship between body and territory through actions of construction, wear and tear, and transformation of a mountain of earth within the exhibition space. The work proposes a sustained process in which the body interacts with matter through gestures of habitability, tracing and modulation, activating the earth as a field of resonance and listening.

The concept of emptying operates as a strategy of transformation and reconfiguration: eroding, flattening and opening up space for new forms of appearance. In this sense, working with earth is proposed as an artistic and political practice that brings together time, body and materiality. In a context of planetary urgency, the performance invites us to reflect on other ways of inhabiting the present, to rethink our relationship with the territory, without renouncing the possibility of imagining and constructing diverse futures.

• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 

 

The dark green walls swallow the light and evoke dampness. In this silent, reclusive atmosphere, the works of Roma Vaquero Díaz and Alina Cantón gaze at each other and wait.

Roma brings with her the traces of her journey: photographs and records of actions in which her body was a means of engaging in conversation with the environment. In her works, action is not only movement but a desire to bury herself in the landscape until she blends in with its rhythm. They are fragments of an ongoing process, where the artist and the environment contaminate each other with the desire to be one and the same.

Alina models objects on which the imagination can rest. Urns that hold not remains but possibilities. Her ceramics, bathed in milk, retain their warmth to the touch: where the finger pressed, where the palm rested and affection appeared for an instant, before becoming fixed matter. They are friendly and vital, species of creatures that, if filled, may awaken or dissolve into their own emptiness in a magical act.

Emptiness has its charm. Perhaps because everything in it is uncertain, or because everything in it is possible. Like the gesture of placing a conch shell to one’s face, a small act of fantastic communion in which the cheek and ear connect with a skeleton that whispers stories of the sea in silence. That gesture reveals curiosity and fascination with nothingness. The works of Roma and Alina seem to move in that intermediate state of the world: between what is not and what could be. The fear of ceasing to be and the excitement of transformation.

In this dance between birth and disappearance, an ontology of transition occurs. The works do not seek to establish a form, but rather to account for a mobile and indeterminate condition. They do not seek to represent the world, but rather to participate in its flow. They tell of what transforms without asking permission or planning. They speak of the unstable.

Curatorial text by Daniela Arroyo

 

PLACE AND DATE

Tiempo Gallery, AFFAIR Centre. Buenos Aires. 19 November 2025 to 12 February 2026