Rodriguez Founda on is transformed into a waiting room. Here, time dissolves, and the space draws you in, creating a place for reflection that can touch us deeply.

Adolfo Bimer’s exhibition is intensely personal. Years of accompanying his mother through medical institutions have made these spaces a part of his everyday life and a natural point of departure for an art practice that seeks to navigate and make a route for reality. This personal dimension can become our own experience. At first glance, the seemingly sterile space en ces us with its enigmas, and the individual works invite our bodies to find their place within it, to feel their own corporeality. The extended handrail offers both metaphorical and physical support, guiding us inward, while the wai ng room chairs encourage a sense of merging and blending with our own bodies. Our senses encounter familiar textures and materials—tangible, close, intimate.

This closeness unfolds on multiple levels—both aesthetic and material. Bimer’s visual language, drawing on scientific and microbiological imagery, may initially appear abstract. Medical images are difficult to decipher, evoking a sense of estrangement, alienation, and dehumanization, yet in reality, they offer a close portrait of our own bodies. The chairs, titled Employed Time, can be perceived as bone-like shapes, reminiscent of X-ray images, visible on both micro and macro scales. At the same me, they become extensions of our bodies, receiving and supporting them. The work April, composed of elements recalling laboratory slides and layered with tablets and minerals naturally present in the body, pulses with life in its biological dimension. Lifespan, a transparent handrail filled with a mixture of medications, vitamins, fertilizers, pesticides, microplas cs, and other substances, becomes a cross-section of the detritus of our civilization—a kind of geological testament to culture.

Time in the exhibition is almost as tangible as the materials themselves. It loses its boundaries, spreads, and surpasses the usual frame of the calendar. In this realm, the experience of suspension and waiting intertwines with its passing, with transience. Yet this rhythm is gently punctuated by the pain ngs, which evoke beginnings, sources, and birth—works emerging in dialogue with the artist, who initiates the pain ng process but allows the material to shape itself. Time thus hovers between beginning and end, the formation of matter and its dissolution, life and the fragility of that which cannot resist decay.

Bimer’s exhibition leaves us with a profound sense of participation—we are not merely observers, but we become part of the space where time and matter are tangibly experienced. It is a subtle, multi-layered experience, inviting reflection on the fragility of life and the ways personal histories shape our perception of the world. Every detail offers an invitation to pause, to enter the in-between.

(Text by Agata Rodríguez)