CONSTRUCTIO

Derived from Latin, CONSTRUCTIO designates, according to Le Petit Robert, la manière dont une chose est construite — the way in which something is built. More than a technical definition, the term evokes a processual and relational dimension: to construct implies selecting, organizing and giving form, but also imagining, projecting and inscribing meaning. In this exhibition, constructio becomes a metaphor for the artistic process, approaching the idea that reality is not given but continuously produced — a perspective found in the thinking of authors such as Bruno Latour or Tim Ingold, for whom the world is the result of ongoing relations rather than fixed structures.

The works of the six artists explore cartographies of real and imagined places, where memory, territory and imagination intertwine. Each work is an act of constructio: from the desire to affirm identities to the (re)construction of the real; from the appropriation of symbols and memories to the consolidation of the vernacular as a socio-political space; or even the imagined as a playful and experimental exercise.

Between memory and fiction, places emerge as spaces in constant reconfiguration. Rather than representing, these works construct sensory worlds, narratives and ways of seeing, inviting the public to inhabit, feel and rethink the world. By working with traces, symbols and narratives, the works reveal that experience is always constructed, and that cartography ceases to be merely an instrument of representation, becoming instead a way of experiencing, inhabiting and reinterpreting space, approaching Michel de Certeau’s notion of ways of “practicing space.” In this sense, the exhibition evokes constructio as a critical device, proposing readings that destabilize dichotomies such as nature and culture, the real and the imagined, or even object and process. By refusing fixed boundaries, these works offer situated, partial and embodied modes of knowledge. The vernacular emerges as a field of socio-political inscription, where memory and identity are negotiated, while the imagined asserts itself as an epistemological tool — not as an escape, but as a possibility for reconfiguring reality and the very experience of existence.