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A couple of years ago, a friend responded to a photo I posted by writing “bokeh is like a fragrance,” an idea that has been resonating constantly for me during the present domestic confinement.

The diffuse, the distorted, the uncertain, the low-res information and knowledge, have interfered in everyone’s routines and emotions. They have also distorted the perception of our domestic and urban spaces, of architecture and the city, particularly in relation to our humanity and its physicality. 

This deadly techno-bio-political shock in the form of a virus forced us out-of-focus, altered the meaning of togetherness, of temporality, of what is public or what is intimate.

These audiovisual minimal domestic performances confront stillness with constant movement, the rhythmic cycles of our days inside with our non-continuous thinking, and the impossibility to foresee what will come. They intend to represent, in part, the abrupt and silent way in which plans and the established systems have been hacked. Also, the strength of the unspoken assignment to deal with all of these while the haptic and some of the performative background aspects of our days have now become the most relevant and present.

This is a collection of very personal “species of spaces,” the real made unreal, and viceversa.

Bokeh was originally commissioned for “IN-SITU: Conversations on Architecture and Beyond,” a series of weekly posts on the America’s Society Visual Arts Instagram. IN-SITU is curated by Laura González Fierro and Agustin Schang in collaboration with Center for Architecture.

CAMERA AND VIDEO EDITING: Pablo Gerson / MUSIC: Florencia Rodriguez.

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