Another view. A “micrologic” view demands us, first of all, to pause. Austere and stripped isolated images imperatively reclaim our attention. In the midst of an acceleration in which we move an invisible arm, it traps us and obligates us to look. To relate with everyday things and remind us, hurried walkers, (as if we would know!) that time is passing. Really, our vulgar manner of perceiving the passage of time is like a black hole that swallows life’s innumerable nuances of which this exhibit proposes to remind us.

 Objects, chosen by the artist and projected onto desolate scenery, strike us with luminous colors that distinguish the objects from warm, pallid background. Shoes, ties, pencils, a mask, bags, that like a scrap of chicken wire or abandoned tricycle, give evidence of the human life that has been there. The quotidian is full of poetry. Poetry and nostalgia for the absence of life. Toys that nobody will return to use, letters without a destination. Poetry, nostalgia and hope: the light invites us to cross the territory that veils a new presence.

 The desert has always been a place of revelation. Through her treatment of space, Claudia Garcia Moritan places us in front of a desert full of small and large epiphanies. Small in familiarity, large in invitation to imagine the stories of the protagonists whose faces reflect, as if to frame, the infinite and ineffable nature of finite everyday existence. She provides a serene look, rescuing that which a hurried glance is condemned to forget.

 Marisa Mosto 2006

 “micrologic”: is an expression taken from Walter Benjamin, a German philosopher well-known in the realm of philosophy of art. Benjamin said that the description of a “detail,” of a historical event, of an object, of something singular and concrete, reflects an immense conceptual universe. Details embody, or reflect, the totality of the context in which they are found.