Group show at the CCK/Palacio Libertad (Buenos Aires, Argentina), curated by Jazmín Adler. Open to the public from 7/2/2025 through 4/19/2026.

If there is one thing that modernity has relentlessly sought to portray for centuries, it is that nature and society are separated by an abyss. While political constitutions remained in the hands of jurists and political scientists, it was the task of scientists to study natural phenomena and unravel the mystery of life. However, as Bruno Latour argues, one half of our politics is shaped by science and technology, and the other half of nature is constructed by societies. By intertwining these two, the networks between heterogeneous elements that until now had no place are given the chance to be represented in a new Parliament, one that gathers around all things. Technological scraps, fungi, machinery, industrial strategies, ruins and waste, flows of matter, electromechanical mechanisms, geopolitical infrastructures, fictions, ecologies, bodies and entities of all kinds —coupled at different spatial and temporal scales— thus find a bastion from which to raise their own voices. They rise as if they had awakened from a long slumber and, in doing so, they display their splendor through a discourse that is not reduced to a set of words, but results in singular articulations between scattered fragments of the world.

In "Soberanía de las cosas", the magnificence of these encounters takes shape in paintings, sculptures, videos, and installations made from diverse materials, which reveal and configure a space for the exercise of power within these galleries. Dethroning (once again) the historical modern supremacy granted to human agency, things organize themselves into a community and thus possess immeasurable vigor. The Latin expression super omnia, associated with the etymology of the term sovereignty, means “above all things.” We would say here: above all things, things.