Through the oxymoron "visual resonances", the curatorial proposal invites us to reflect on the relationship between visual and sound language, highlighting the mutual possibilities of translation and questioning the tangibility of the work of art. How flexible can the notion of visual art be? The proposal brings together pieces that question the physicality of the work of art by pointing out possible correspondences with sound language. The recording of a supposed street auction of works by Andrea Mármol in the form of "food for the soul" invades the open space and invites to enter the room. Here, questions about subjectivity and the translation of visual artworks into words run through the proposals of Juan Sorrentino and Omar Jury. The role played by technology both in the interchangeability between image and sound and in the possibilities of a universal language is central to Alan Segal's work. Alan Courtis, for his part, stages the reciprocity of languages: in Recording Munch's Scream, he inverts the Norwegian artist's impossible task of painting a sound through the absurd act of recording an image. Lihuel González and Nicolás Martella modify the meaning of the relationship by trying to allude to sounds through the gestures of mute figures. Finally, Valeria Traversa's proposal opens up to abstract sonorities resulting from her sensitive universe and the materials she chooses for her installations.
