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The process of image-making usually intersects between the reality and the perceived truth of the artist. Popular modern philosophical views claim that the brain lacks the ability to contain images. Hence, our sense of the world must have come from the way we deem how physical things occupy spaces.  ‘unlearning and relearning to see’  gathers the works of three artists and their environment, which merge the fastened images of scenes and the layers of complexity wherein these settings were found. Here, the artists integrate themselves among the places, sites, and unlearning and relearning to see spaces of their art practices. The exhibition considers our own interventions into the realities that we often witness since what we see and what we know are always shaped by the social and natural conditions that were set in our usual surroundings. Thus, we find images charged with dynamism and sophisticated narratives of what we obtain from the daily mise-en-scéne.

The process of image-making usually intersects between the reality and the perceived truth of the artist. Popular modern philosophical views claim that the brain lacks the ability to contain images. Hence, our sense of the world must have come from the way we deem how physical things occupy spaces. ‘unlearning and relearning to see’ gathers the works of three artists and their environment, which merge the fastened images of scenes and the layers of complexity wherein these settings were found. Here, the artists integrate themselves among the places, sites, and unlearning and relearning to see spaces of their art practices. The exhibition considers our own interventions into the realities that we often witness since what we see and what we know are always shaped by the social and natural conditions that were set in our usual surroundings. Thus, we find images charged with dynamism and sophisticated narratives of what we obtain from the daily mise-en-scéne.