Layers of distance'.


The absent and the fragmentary, the empty and the hidden, the spectral and the melancholic come together in Layers of distance. Layers of distance where ruptures germinate borders of stillness and superficial successions: the deepest, wrote Paul Valéry, is the skin. The landscape returns as an axis where corporeal presence manifests itself in absence, residue, apparition; and through its repetition and dislocation, aspires to an abstraction of the everyday, the banal, the total. A strangeness where the binary logics of Byung-Chul Han in Absence (2019) resonate, indebted in turn to Junichiro Tanizaki's In Praise of the Shadow (1933), an aptly descriptive title for Irene González's work.