The overproduction of images and the bombardment of news we experience today can reach such immensity that, between fires, political radicalism, accidents, and wars, it is inevitable to feel a sense of catastrophe. However, Dora Mejía, always aware of the news and with a large archive of images from the internet, reminds us that the end of the world has always been in the present, as if it were part of human nature to exist in discomfort.

For ‘El presente eterno’ (‘The eternal present’), the artist brings together the chronological past with the latest news, revealing the persistent repetition of past events that could be read as current, and others that, having just happened, seem like the same story told a thousand times.

Her work comes from a fascination with an image or an idea, using techniques such as laser bas-relief, digital collage, or video, bringing the subtext to the surface, with associations between seemingly unconnected images, or in palimpsests, making a sensitive renewal of the document. Throughout her 45-year exhibition career, Dora Mejía has stood out for her curiosity about new technologies, installation formats, and interventions in public spaces, where drawing and video serve as her starting points. She constantly incorporates new approaches based on digital fabrication and audiovisual resources.

Landscape has been a conductive thread in Dora Mejía's practice. However, she has not subscribed to the idyllic view of a forest or a city from afar, but rather to a critical observation of the relationship with urban spaces, the cosmos, global politics, and cartography. In a way, it is a social view of landscape.

The images that compose the exhibition are her most recent work; they also place us within the idea of immensity, of history and the universe, where there is such a difference in scale from the dimensions and temporality of a human individual that we are left wondering whether infinity is just a measure for what we cannot grasp.