Some forces shape us in ways we can name. Others move through us unseen, emerging in gestures, in imprints, in the spaces between things. Lena Lena Laguna Diel’s ‘One of us still kicking’ traces these invisible currents—the quiet transmissions of memory, the weight of presence and absence, the forms that hold what cannot be spoken.

Throughout the exhibition, the motif of the house recurs—not as a singular structure, but as a threshold, a shifting presence embedded in different forms and surfaces. Imprints of hands emerge like memories surfacing through layers of time, appearing across materials and spaces. If a house is both shelter and constraint, then here it exists in flux: an open question rather than an enclosure, a space that carries not just what is seen but all that remains unspoken. Works from different moments in the artist’s practice come into dialogue, shifting and reframing each other. In 'Talk', color becomes conversation, bypassing words to reveal what language cannot hold. In the series 'A Body in Fragments', the self is scattered across ceramic forms, a collection of moments solidified in time, yet always at risk of breaking. In a series of cyanotypes, the body appears only as a trace—fading gestures caught in the deep blue of light and chemistry. These works do not capture presence, but rather its afterglow, as if the body itself had dissolved into the fabric of memory.

Throughout these works, Laguna Diel traces the outlines of interior and exterior worlds, negotiating the dualities that shape experience: security and isolation, communication and silence, past and present. The house, as a recurring motif, holds these tensions within its fragile walls. It is a site of transformation, a vessel for personal and collective histories, a space where the visible and the invisible intertwine. 

Beneath these movements, a wild force runs through—the fuerza loca that emerges in Laguna Diel’s work, drawn from ‘Le Rachdingue’, Henri-François Rey’s 1967 novel. In Rey’s story, a desperate man chases love through chaos, grasping for meaning in extreme experiences. But here, that force takes another shape. It is not reckless but quiet, not a spiral of excess but a pulse embedded in material, in memory, in the body’s delicate negotiations with the world around it. It is the force of skin meeting surface, of color reaching toward another, of silence speaking just as loudly as what is said. It is movement without spectacle, intensity without noise.

The exhibition does not impose a fixed meaning but allows its elements to collide, overlap, and expand—like memory itself, like the forces that move beneath our grasp. In ‘One of us still kicking’, nothing remains still. Works shift in dialogue with one another, spanning time, merging past and present into something that refuses to settle. The house both encloses and opens. The body appears and fragments. Communication unfolds, yet evades resolution. And in standing before these works, we too are caught in this current—not as observers, but as participants in its unfolding.

We remain, for a moment, at the threshold. Feeling the force that lingers, invisible but insistent, still kicking.

- Juan Salazar