Our objects, our memories, our space. The domestic realm is this small world that we construct over the years – a world separate from the public sphere, open, changing, unlimited – in which we feel freed from the gazes of others. But this refuge that is home, this space that we make and at the same time which makes us, can become in turn a place of solitude, imprisonment, involuntary isolation. The joy of returning home is at times contrasted with the drama of not being able to leave.
Mireia Bordonada, Román Yñán, Carla Tramullas, Robin Schwartz, Jen Davis, Beth Yarnelle Edwards, Lucie & Simon, Sebastian Pfütze, Anja Teske, Sibylle Fendt, Andrzej Kramarz & Weronika Lodzinska, Celeste Arroquy, Lili Almog, Gail Albert Halaban.
Mosaic Object/Subject: Núria Lopez Torres, Bostjan Pucelj, Davide Grossi, Alessandra Saccà, Salva López, Ana Cuba, Laura Cuch, Antonella Iovino, Antoine Passerat, Anne Sophie Costenoble.
The domestic sphere is also a place of interaction, a shared space. Living together in the domestic sphere in a family, with friends or even with pets is governed by a set of rules or codes of conduct some of which we are not always fully aware. At times, the result of consensus, imposition or tradition, accepted by some, rejected by others, these rules strive to make coexistence in a limited space possible. Sharing the home can be perceived, depending on the case, as either a factor of joy and personal realization, or as a sentence of oppression and injustice, in silence and often invisible.
Antonio Muñoz de Mesa, Marina Espriu, Lourdes Segade, Laia Abril, Cristina Nuñez, Ana Jiménez, Giorgio Barrera, Adriana López Sanfeliu, Giuseppe Moccia, Guia Besana, Susannah Slocum, Ed Kashi, Olivia Froudkine, Margaret Boland, Keely McGuiness, François Schaer, Cia de foto.
The home is the scene of a great number of rituals. These may be repetitive – like birthdays, the Christmas holidays or daily meals – or occasional – like dinners with family or friends or house warming or engagement parties. The ritual may be experienced by the members taking part as a festive act or seen as the imposition of a convention, as the forced observance of a series of protocols transmitted through tradition. Thus, domestic ceremonies can either be presented as a mechanism that makes it possible to strengthen social relationships or as the staging of a fictitious harmony behind which is hidden rancour and violence leading to the possible destruction of communal ties.
Estudio Campins - López Lamadrid, Paola de Grenet, Francesca Catastini, Mattia Insolera, Dona Schwartz, Frédéric Nauczyciel, Stéphanie Lacombe, Gerda Kochanska, Przemyslaw Pokrycki.
Entering the house: leaving the house. We regulate the passage between the domestic sphere and the public sphere through a series of conducts, rituals, objects and spaces that we may describe as frontiers or boundaries and which sketch the – at times imprecise – threshold between inside and outside. Before leaving the house, for example, we usually change our clothes and alter our physical appearance. Moreover, when we step out into the street, we change, often unconsciously, the way we walk and all the gestures that accompany it. Certain hosts ask visitors to take off their shoes before entering their home, and many fearfully people, after leaving the house, repeatedly check to see if they have locked the door properly. The door is revealed as the paradigmatic object that marks entering and leaving the home, but it is not the only one: bells, windows and doorways have the function of controlling the transit between two worlds opposed but permanently connected to one another. Thus, crossing the threshold of the door to the house implies replacing our private “self” with a public “self”, representing oneself differently in order to adapt to other spaces, codes and types of company.
Elena Prieto Landaluce, Napi Rivera, Oscar Alcaraz, Marco Lachi, Giorgio Barrera, Matteo Balduzzi, Frank Rothe.