{"id":25096,"date":"2026-05-12T01:35:37","date_gmt":"2026-05-11T23:35:37","guid":{"rendered":"https:\/\/www.luzinterruptus.com\/?p=25096"},"modified":"2026-05-12T14:03:35","modified_gmt":"2026-05-12T12:03:35","slug":"caressing-zone-zona-que-acaricia","status":"publish","type":"post","link":"https:\/\/www.luzinterruptus.com\/?p=25096","title":{"rendered":"Caressing Zone \/ Zona de acaricias"},"content":{"rendered":"

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With this installation we want to temporarily transform public space into a place of contact and shared softness. Caressing Zone<\/em><\/strong>\u00a0is made up of hundreds of translucent arms and hands suspended above the audience, moving slowly with the wind and brushing against those who walk through the space. We are interested in introducing into the city an action normally reserved for intimacy: the caress.<\/p>\n

The installation revisits ideas we have already explored in other works involving fragmented bodies, textile materials, light, and the sensitive occupation of urban space. In contrast to architectures shaped by hardness, speed, or control, we are interested in introducing soft, unstable elements connected to physical contact.<\/p>\n

The arms are made from translucent fabrics similar to white women\u2019s stockings. We chose this material for its fragility, lightness, and its ability to constantly react to air and light. We are not interested in creating perfect anatomical forms, but rather soft and changing textile presences activated by the wind and by the movement of visitors. The cold light placed in the upper part of each arm passes through the fabric, revealing seams, folds, and small deformations produced by movement and use.<\/p>\n

We are also interested in working with materials historically associated with feminine, domestic, or invisible worlds. Here, the stockings are used as both structural and luminous elements, leaving the private sphere to occupy a monumental and collective structure within the city.<\/p>\n

The installation clearly alters the behaviour of the audience. People slow down, look upwards, and move through the space differently, accepting the continuous brushing of the moving fabrics. The wind never moves the arms in exactly the same way, so the piece is constantly reacting to the environment and to the bodies passing through it.<\/p>\n

Formally, the work is built using a large truss or scaffolding structure from which hundreds of pairs of arms are suspended. Each arm is made from a sewn textile sleeve stretched open at the top by a circular metal frame. Two frames are connected by a simple horizontal metal piece, similar to a small industrial hanger, allowing each pair of arms to hang from the main structure using a single suspension point.<\/p>\n

Inside each arm we place a small cold light source, technically simple and easily accessible, which illuminates the fabric evenly from within without producing visible glare. We are not interested in technological spectacle, but in creating a faint, almost bodily presence. The fabric remains open thanks to the upper frame while the rest of the arm hangs freely and moves with the air.<\/p>\n

The installation can adapt to different scales and configurations: immersive corridors, open squares, circular structures, or large walkable environments. Depending on the site, the density and height of the arms can be adjusted to create different levels of interaction with the public.<\/p>\n

At night, Caressing Light<\/em> feels like a large suspended organism floating above the city. From a distance, the arms appear as a luminous mass slowly moving with the wind; from inside, the experience becomes far more physical and tactile.<\/p>\n

We hope to see this installation come to life soon.<\/p>\n

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Con esta instalaci\u00f3n queremos transformar temporalmente el espacio p\u00fablico en un lugar de contacto y suavidad compartida. <\/span>Zona de caricias <\/i><\/b>est\u00e1 formada por centenares de brazos y manos transl\u00facidas suspendidas sobre el p\u00fablico, movi\u00e9ndose lentamente con el viento y rozando a quienes atraviesan el espacio. Nos interesa introducir en la ciudad una acci\u00f3n normalmente reservada a la intimidad: la caricia.<\/span><\/p>\n

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La obra retoma ideas que ya hemos desarrollado en otras piezas alrededor del cuerpo fragmentado, los materiales textiles, la luz y la ocupaci\u00f3n sensible del espacio urbano. Frente a arquitecturas pensadas desde la dureza, la velocidad o el control, nos interesa introducir elementos blandos, inestables y ligados al contacto f\u00edsico.<\/p>\n

Los brazos est\u00e1n realizados con tejidos transl\u00facidos similares a medias femeninas blancas. Elegimos este material por su fragilidad, su ligereza y su capacidad para reaccionar constantemente al aire y a la luz. No buscamos formas anat\u00f3micas perfectas, sino presencias textiles suaves y cambiantes que se activan con el viento y con el movimiento de los visitantes. La luz fr\u00eda situada en la parte superior atraviesa las telas y deja visibles costuras, pliegues y peque\u00f1as deformaciones producidas por el uso y el movimiento.<\/p>\n

Tambi\u00e9n nos interesa trabajar con materiales asociados hist\u00f3ricamente a universos femeninos, dom\u00e9sticos o invisibilizados. Las medias, utilizadas aqu\u00ed como elemento estructural y lum\u00ednico, abandonan el \u00e1mbito privado para ocupar una estructura monumental y colectiva dentro de la ciudad.<\/p>\n

La instalaci\u00f3n modifica claramente el comportamiento del p\u00fablico. La gente reduce el ritmo, levanta la mirada y atraviesa el espacio de otra manera, aceptando el roce continuo de las telas en movimiento. El viento nunca mueve los brazos igual, de modo que la pieza est\u00e1 constantemente reaccionando al entorno y a los cuerpos que la recorren.<\/p>\n

Formalmente, la obra se construye mediante una gran estructura met\u00e1lica de truss o andamio de la que cuelgan centenares de parejas de brazos. Cada brazo est\u00e1 formado por una funda textil cosida y tensada en la parte superior mediante un bastidor circular met\u00e1lico. Dos bastidores se unen mediante una sencilla pieza met\u00e1lica horizontal, similar a una peque\u00f1a percha industrial, que permite colgar la pareja de brazos de la estructura principal con un \u00fanico punto de suspensi\u00f3n.<\/p>\n

En el interior de cada brazo colocamos una peque\u00f1a fuente de luz fr\u00eda, sencilla y accesible t\u00e9cnicamente, que ilumina homog\u00e9neamente el tejido desde dentro sin producir destellos visibles. No buscamos espectacularidad tecnol\u00f3gica, sino una presencia tenue y casi corporal. Las telas permanecen abiertas gracias al bastidor superior mientras el resto del brazo cae libremente y se mueve con el aire.<\/p>\n

La instalaci\u00f3n puede adaptarse a distintas escalas y configuraciones: corredores inmersivos, plazas abiertas, estructuras circulares o grandes superficies transitables. Dependiendo del lugar, la densidad y altura de los brazos se ajusta para generar distintos niveles de interacci\u00f3n con el p\u00fablico.<\/p>\n

Durante la noche, Luz que acaricia<\/em> produce la sensaci\u00f3n de un gran organismo suspendido sobre la ciudad. Desde lejos, los brazos aparecen como una masa luminosa movi\u00e9ndose lentamente con el viento; desde dentro, la experiencia se vuelve mucho m\u00e1s f\u00edsica y t\u00e1ctil.<\/p>\n

Esperamos poder ver esta instalaci\u00f3n hecha realidad muy pronto.<\/p>\n

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With this installation we want to temporarily transform public space into a place of contact and shared softness. Caressing Zone\u00a0is made up of hundreds of translucent arms and hands suspended above the audience, moving slowly with the wind and brushing against those who walk through the space. We are interested in introducing into the city … Leer m\u00e1s<\/a><\/p>\n","protected":false},"author":1,"featured_media":25119,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45,46,47,54],"tags":[62],"cat-trabajos":[157,93],"class_list":["post-25096","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-efimero","category-iluminacion","category-intervencion","category-proyecto","tag-proyectos","cat-trabajos-157","cat-trabajos-museos"],"_links":{"self":[{"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=\/wp\/v2\/posts\/25096","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=25096"}],"version-history":[{"count":8,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=\/wp\/v2\/posts\/25096\/revisions"}],"predecessor-version":[{"id":25165,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=\/wp\/v2\/posts\/25096\/revisions\/25165"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=\/wp\/v2\/media\/25119"}],"wp:attachment":[{"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=25096"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=25096"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=25096"},{"taxonomy":"cat-trabajos","embeddable":true,"href":"https:\/\/www.luzinterruptus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcat-trabajos&post=25096"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}