The collaboration between Bárbara Sánchez-Kane and Sofía Alazraki (Buenos Aires, Argentina) began as an exchange of letters between two friends. These were love letters in strange formats—pieces of fabric and objects—like throwing a dart back and forth across the world. What began as a playful, intuitive, and fun exchange slowly evolved into something deeper, until they found a shared point of connection between their two practices, which, though distinct, inhabit a common territory: the mechanism of fashion.
On one hand, they are interested in exploring how fashion objects circulate and what truly generates desire for them. On the other, they are fascinated by that democratic attribute: the art that goes into a garment finds its way onto the streets, like two spies infiltrating the city.
There is also something deeply political in this work. We live in a time of crisis, authoritarian regressions, structural precariousness, and material impulses. In a present where images and language are oversaturated and polarized, where spaces are shrinking due to agendas of hate, this exhibition proposes a fissure: a place where we can play without asking for permission, remember without chronological order, and kiss as if it were the first time. The rupture is the form.
Just as the objects changed hands and lived many lives, the photographs are a testament to the relationship between Sánchez-Kane and Alazraki and their different ways of loving each other, expressed as mobile altars in different cities—from wells covered with tires and furniture to hotel rooms. But this relationship has also gone through many stages. Over the past five years, the artists have transformed. Now the fabric scraps and lost objects are displaced self-portraits from multiple processes. Perhaps therapies, failed relationships, and new friendships helped them find themselves in a new place. There is a message of life in these objects: accepting the palimpsests of the past is also a way of moving forward.
Text by Guillermo Osorno