The poet—the contemporary—must firmly hold his
gaze on his own time. But what does he who sees his time
actually see? What is this demented grin on the face of his age?
I would like at this point to propose a second definition of contemporariness:
The contemporary is he who firmly holds his gaze on his own time
so as to perceive not its light, but rather its darkness.

— Giorgio Agamben, What Is the Contemporary?

Both the appropriation of space and the conception of time are agreements we adhere to in order to understand and communicate our relational identity to the body. However, there is no time, no space, only chaos. In our need to make sense of the world in the face of the horror of emptiness, we try to contain and define our body through prefabricated frames of temporality and spatiality. The artist is concerned with the investigation, appropriation and reclaiming of the spatial territory and the temporal dimension as frameworks for artistic creation, and as infinite starting points for the imagination.

In their works, these artists mutate the static of the landscape and the permanent of the everyday into unexpected forms of representation. It is the journey through memory that intrigues Ana Werren and leads her to discover in found objects geomorphic forms that evoke a nostalgic landscape, scenarios permeated by the memories of her subconscious. Ana tells us: "On the other hand, I also abstracted the landscapes of postage stamps from my father's collection, landscapes specifically from Switzerland, another part that is part of my definition as a person. I wanted to put these two types of landscapes in dialogue, seeking to rediscover myself through them. I have more of an emotional relationship with the abstract landscapes of the keys than with the slightly more literal landscapes of the stamps."

Nathalie Beard incessantly investigates the passage of time and the traces of its shadow, she documents and captures the subtlety of the traces of the shadow as evidence of something that once existed, of something that was. For Nathalie it is: "Exploring the different media that tell us about time such as the shadows of the passage of time, an hourglass, a clock with hands, a digital clock... and also exploring this same notion in different media such as painting, photography, installation... it is really an investigation and a search for how to make abstractions of time."

As a witness of a space that is inhabited, in her series "No he aprendido a decirte adiós", Margarita Figueroa records on paper the moments lived in the transient place of residence. She invites us to imagine with her impressions, how would time can be experienced in impermanence. In exalting the poetics of everyday life, Margarita gives an account of what captivates her: "Thus, not only had I become accustomed to the routines of getting up in a certain way, feeding my cat in a certain way, to smells, window views, spatial sensations, but also to favorite places nearby where to have coffee, go for a beer, find some curious garment in the bale, look for new glasses, etc. Then I got used to seeing empty spaces, imagining where I would put my furniture, where the sunlight will come in, etc."

It is the way in which time and distance mark us, the journey through a space between transits and interruptions, coincidences and anachronisms, or perhaps a random encounter with the present in time, in a particular place, that leads these artists to invite us to take a slow look to find in their works the singular within the common. For them, art becomes a perceptual framework of inexhaustible possibilities.

— Renato Osoy