Marina Vargas, Contra el canon, 2021 - Courtesy of the artist and ADN Galeria.
TITLE_NAME :
Neither Animal nor Angel. Anatomy of the Image
14/02/2026 - 23/05/2026
ADN Galeria
Carrer de Mallorca, 205
08036
www.adngaleria.com
In these pieces dwell affects, tactility, fragmented memories..., and she allows herself to speak in leaps; linearity is superfluous because the artist accepts confusion and error as modes of knowledge, as a formula of almost magnetic creation that infuses guidelines and energy to continue winding around what happened and what it left us: fear, fragility, strength... the friends who accompanied us in moments of panic. Addressing trauma does not seek to close it, but the simple act of generating an image about what has been lived is a form of repair and also of resistance that makes evident to what extent illness and the formulas with which it is protocolized also have gender.
In these works, which ooze a pink material somewhere between magmatic matter and cotton candy, the artist places herself in a new position that questions the Manichean readings of the two spheres: it makes evident that the construct "gender" is pure violence, relationships designed around power or submission, an inherited framework that is of no use. Marina Vargas rejects these categories and proposes another space; in reality, a limbo in which there is no possibility of conciliation, a realm in which the reading of the image cannot be anything other than political and is so, moreover, because it resists classification.
14/02/2026 - 23/05/2026
ADN Galeria
Carrer de Mallorca, 205
08036
www.adngaleria.com
In these pieces dwell affects, tactility, fragmented memories..., and she allows herself to speak in leaps; linearity is superfluous because the artist accepts confusion and error as modes of knowledge, as a formula of almost magnetic creation that infuses guidelines and energy to continue winding around what happened and what it left us: fear, fragility, strength... the friends who accompanied us in moments of panic. Addressing trauma does not seek to close it, but the simple act of generating an image about what has been lived is a form of repair and also of resistance that makes evident to what extent illness and the formulas with which it is protocolized also have gender.
In these works, which ooze a pink material somewhere between magmatic matter and cotton candy, the artist places herself in a new position that questions the Manichean readings of the two spheres: it makes evident that the construct "gender" is pure violence, relationships designed around power or submission, an inherited framework that is of no use. Marina Vargas rejects these categories and proposes another space; in reality, a limbo in which there is no possibility of conciliation, a realm in which the reading of the image cannot be anything other than political and is so, moreover, because it resists classification.