Overview

The collaboration between Bárbara Sánchez-Kane (Mérida, Yucatán, 1987) and Sofía Alazraki (Buenos Aires, Argentina, 1991) began as an exchange of letters between two friends. Love letters in odd formats. Like throwing a dart from one end of the world to the other. At first glance, these photos give the impression of an exquisite corpse, sculptures made with parts that are added without a rational order (their logic is unconscious, rather). Sometimes they look like little Frankensteins made of borrowed parts to animate a strange animal; at other times they have the comic qualities of collage, of the sudden laughter provoked by the juxtaposition of two things that contradict each other. They are also erotic cyborgs, representing the fetishes of their authors. Made up of second-hand objects, they also raise the question of their past and the future that awaits them. They are sculptures made by two artists who love to manipulate religious, lesbian, and fashion symbols. Sánchez-Kane has established herself as an important, original voice in contemporary art. She participated in the 60th international art exhibition, La biennale di Veneza, Stranieri Ovunque, with the video and sculptural installation Prêt-à-Patria (2024). Alazraki is a photographer and set designer working across art, fashion, and film. Formed as an art historian, her practice focuses on still life photography and installation, where she builds carefully choreographed assemblages with objects and unconscious mechanisms as active characters.

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