EL ETERNO RETORNO DE LA OBSOLESCENCIA (exposición colectiva).

Boris Campos Ernst work consists of four large-scale fabric pieces that propose a dialogue between two forms of resistance: that of the artisan who works with their hands, and that of the printmaker who leaves traces upon matter. It is no coincidence that the work is constructed using ancient techniques such as woodcut, screen printing, monotype, and frottage on fabric. Printmaking, like the trades portrayed in the work, is a process-based and manual craft, irreproducible in its essence. Every mark on the fabric is a gesture that cannot be delegated to a machine without losing its originality.

Three of the pieces evoke the shoemaker, the milkman, the seamstress, the watchmaker, and the phrenologist — figures among many others that no longer exist, barely survive, or have reappeared reinvented as trends or luxury practices. The fourth fabric piece completes the panorama: a factory as a symbol of automation, the moment when repetition ceased to be a human act and became a process without memory.

Obsolete Format is both an interpretation and a record of what has become extinct and what is on the verge of disappearing. The work invites reflection on how automation has rendered once-essential trades and techniques obsolete. Automation has not finished its work.