Prologue


“When I arrived in Barcelona, one of the first places I lived in was Amanda and Maria Elisa’s in calle Escorial. As soon as I walked in, I realized I was in a place that was different, a place operating under a different kind of logic. A heterotopia. A kind of space that is both a refuge and receptacle of the world, a bubble with a porous surface through which everything goes in and out. The world permeates the space while at the same time being reflected in it. It’s not a virtual image of the world, but the home of both artists. The private becomes public.

In this place, art is structuring. Art that does not build itself from the phallic but from the creative force. Art as a feminine, libidinal economy, a flow of abundance that stems from creation and not from accumulation. In this place, poetry is applied to life in all its faces. Creation here is ritualistic, a series of actions that are repeated but not replicated, through which ideals are renovated and reinforced. Amandina and Maria Elisa make decisions every day which are uncomfortable, taking us out of the automatic and into the intentional. They are aware of the worrying themes we face in contemporary society; ecological collapse, rampant capitalism, excess of modernity. And they try to prove that a different way is possible. To show their art at home is to escape Art with a capital “A” and to go back to the origin.

Like 21st century witches, they manifest change from within, like a spring that emanates from its own depths into the world. This life they manifest is in itself a political act, one which, in contrast to the nihilistic approach that can so easily become default these days, involves accepting the situation and actively participating in changing it.  The house in Escorial street is the place where Amandina and Maria Elisa nurture their poetry and their politics, where their creative journeys meet and find a place to rest.

A home exhibition challenges the notion of Art with a capital “A”, bringing it back to its origins, its minimum unity of socialization and immediate politics; not the mask that veils the outer world, but the complexity of the light that the intimacy of artistry may shed on it.

Escorial is the nest where their practice is brooded. Maria Elisa enters university while Amandina drops out; however different those starting points are, they both encounter as they set out on their careers as artists.

Amandina articulates her vision with affectivity as a motto: directives that emerge from personal experience, the body and political positioning to navigate a hazy and disheartening reality, tiny postals and short stories that evoke a cup of tea in the rain or an embrace after a shitty day.


Maria Elisa
brings back figurative art. Her paintings and sculptures explore the complexities of the self under the precepts of identity, migration and collective enunciation. An identity made by the frontiers where Latin America meets Europe, painting touches literature, and the social marks the skin. The artist revolts against a sterile and detached aesthetic, honed in the paleness of galleries, to make way to an opulence of colours that absorbs and emulates the polychromy of her context.

Hemisferio is an invitation to explore both visions through a domestic and virtual exhibition, an experiment in which the home becomes gallery and ouevre, a site and a piece in the making. An invitation to enter their inner world, a window to meet domesticity turned into a creative act where routine has become a succession of rites.

– Pedro Salamanca, july 2020