PATRICIA DOMÍNGUEZ’S LACTÓMEDA AT THE RYDER PROJECTS
Patricia Domínguez (Santiago, Chile, 1984) presents Lactómeda in her first solo exhibition at The Ryder Projects in Madrid. The title, a fusion of Vía Láctea (Spanish for Milky Way) and Andromeda, alludes to a portal—a space related to physics where the artist brings together her videos, sculptures, photographs, and paintings. Thus, the Chilean artist explores how different worlds interact to shape the spaces where we exist and act.
Influenced by her studies and experiences in institutions related to physics, quantum mechanics, astronomy, and other scientific processes, Domínguez develops her work within a distinctly technological and futuristic environment. Tres lunas más abajo and similar photographs reflect this technological aesthetic, but from a subjective and sensory perspective. This turns the image into a landscape where the viewer ultimately defines its final form.
The space that shapes this exhibition, along with the portals that emerge from it, creates areas of spatio-temporal contact that invite interaction, even if primarily on a reflective level. Personal interpretations arise from this interplay, as seen in Pupilas geométricas and Matrix vegetal. The language Domínguez employs in this work aims to soften lexical complexity, making the technological world more accessible for interpretation. This may also be an attempt to bridge nature and culture, as well as the empirical, the atavistic, and the spiritual. Lactómeda approaches this union with careful consideration, inviting experimentation as a means to explore new forms of coexistence.
Lactómeda is on view until May 24 at The Ryder Projects, Miguel Servet 13, Madrid, Spain.
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Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
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Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
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Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
