embodied futures

Video installation. Intervened VHS tapes, sound, wrapping film screen.
Soundscape by Lea Marie Uría.

El grito de los cuerpos, curated by Karina Acosta, Museo de Arte Contempraneo de Buenos Aires (MACBA), AR, 2025-2026



embodied futures is articulated through personal VHS archival material, cut, manipulated, and re-projected onto a precarious surface: a screen made of bubble wrap. This material displacement underscores the archive’s unstable status—not as a transparent repository of the past, but as an active device, subject to mediation, loss, and rewriting. The sound, originally inseparable from the visual record, is intervened by Lea Marie until it emancipates itself from the image and expands into the exhibition space, reinforcing the performative condition of the archive.

The work appropriates what the normative regime of cinema defines as error—direct looks to camera, sonic and visual degradation, pixels, interlacing—to enact a critique of ideals of continuity, fidelity, and legibility. Rather than correcting them, it activates these elements as marks of temporality and wear, revealing the archive as a body affected by the passage of time and by the technologies that produce and preserve it. Within this framework, childhood emerges not as a fixed origin or idealized image, but as a territory traversed by the fragility of memory and by the latency of the uncanny, where the intimate and the historical fold into one another.

embodied futures

Video instalación. VHS intervenidos, sonido, pantalla de pluribol.
Composición sonora de Lea Marie Uría.

El grito de los cuerpos, curaduría de Karina Acosta, Museo de Arte Contempraneo de Buenos Aires (MACBA), AR, 2025-2026 




embodied futures se construye a partir de material de archivo personal en VHS, recortado, manipulado y proyectado sobre una pantalla de envoltorio de burbujas. El sonido, originalmente parte del mismo registro, es intervenido por Lea Marie hasta desbordar el dispositivo de proyección e invadir el espacio expositivo.

La obra asume deliberadamente aquello que el canon cinematográfico señala como error —miradas a cámara, precariedad sonora y visual, píxeles, interlineados— y los activa como procedimientos críticos. En ese gesto, el archivo deja de funcionar como testimonio para volverse materia inestable: se distorsiona, se fragmenta y se resignifica. Así, la pieza evoca la memoria y su fragilidad, y abre un campo donde la infancia aparece atravesada no solo por la nostalgia, sino también por la latencia de lo siniestro.