Rhine's women are naked, displaying their flabby folds with passion and desperation. These portraits are characterized by colorful wigs, fanciful genillas, and facial expressions that border on the monstrous and pathetic. The entire exhibition seems like the catalog of a dying and decaying sex industry, but these wild creatures still insist on squeezing out the last drops of their sensuality. In this way, the artist opens the debate on the normative parameters for the representation of sexuality.

More than a questioning of beauty and what a normative body means, Flavia's portraits show a worn-out spirit, how a body exhibits what it has learned in an automatic and unreflective way. Women pose as if they are being watched, so their movements seek to catch the attention of others.

The idea of the worn-out spirit can be expanded to other aspects of contemporary life: the deficit of vital energy left by the pandemic, the bitterness against the advances of fascist governments in the rest of the world, the militancy in networks that seems to replace more and more the presence in the streets. Even so, the works neither judge nor take a punitive attitude. With a tone of humor, in Rin's works in "Gravity", the bodies have erased the habits and obligations that society imposes on them.

One of the strong points of Joaquín Barrera's curatorship is the use of the color palette. As he mentions in his text, the works led him to think of those youth culture heroines of the late eighties that are now coming back and re-versioned, like Jem & The Holograms, to make use of their brightness and aesthetics. Already from the first floor, the light tubes spill their gradient on the walls, making them go from fuchsia to pink, then to lilac and violet, until they end up in the deep blue of the carpet.

In the basement room, the strategy of light is repeated and another element is added to continue and develop this aesthetic proposal with a corrugated aluminum foil that gives the wall texture and turns it into a reflective surface. On top of this assembly hangs a pop rapunzel wearing only a pearl necklace and satin boots while bouncing on a rubber sphere holding her breasts.

"Gravity" is undoubtedly an exhibition that if you are in Buenos Aires you should not miss. Flavia Da Rin demonstrates once again her versatility throughout more than 20 years of career. The artist consolidated a work of art created from performance, theatrical interpretation, photography, digital intervention, and pop culture references.

Paola Paredes, through photography, investigates new stories that transgress the life of the LGBTIQ+ community. Skin Deep presents fifteen stories, representing the diverse sexualities and gender identities that exist and are present in Ecuador.

This project aims to tear aside perceived stereotypes, and show a community that is ethnically, economically, generationally and emotionally diverse. It rejects the limited definition of gender or sexuality as static or innate. It recognizes both as something fluid, built by each individual throughout their lifetime as they understand and consolidate their own identity.

For this, Paola conducted an important research, which arose from the question "What should I tell?", here Paola established around 20 themes, and was dedicated to interview activists, artists, lawyers working on these issues, and thus, she chose 15 stories that narrate elements of sexual diversity and gender identities, seeking not to focus only on the story that victimizes but highlighting other aspects that are somehow linked to this group, such as empowerment and love. For this reason, the 15 stories are as diverse as their members.

The concept of the name Skin Deep comes from the fact that each participant is telling you their story, sharing their gender identities, or their sexual orientations, and their struggle for their identity, to reclaim it, to discover it, and this struggle implies a process of tearing off their skin and looking Skin Deep.

Paola Paredes Albán is a photographer from Quito, who works with themes related to the LGBTIQ+ community in Ecuador. This exhibition closes a cycle in her work that was marked by three parts, the first her "coming out of the closet", the second an investigation on the hospitals of dis-homosexualization (spaces that pretend to "cure" homosexuality, quite common in Ecuador), and the third Skin Deep.

If you are interested in seeing all the interactive photographs of the exhibition you can find them here, also, if you want to know more about Paola's work, here you can find information about her past exhibitions. Finally, the exhibition is located at the Centro Cultural Metropolitano de Quito.