Solo exhibition with photo performance, video performance and video documentation at the gallery of la QuNa. Caguas (Puerto Rico).

Pluriverses of Radical Poetry arrives at La QuNa as a performative activation that intersects body, word, ritual, and territory.
The duo Marina Barsy Janer x Isil Sol Vil inhabit the space through performance as a practice of care, resistance, and subversive love. Through gestures, living matter, and collective vibration, the exhibition evokes multiple possible worlds where seed, root, and body are in dialogue with memory, landscape, and the fragility of our times.
An invitation to witness art as a living event, where the intimate becomes political and the poetic, urgent.

The QuNa Gallery is a space dedicated to contemporary art. We present works by local and international artists and explore themes related to the global Caribbean: its cultures, identities, territories, and diasporas. Our gallery is also a meeting place that seeks to foster dialogue between the community and culture.

Curated by: Quintín Rivera Toro and Nasheli Juliana Ortiz González

 

The artistic residency developed by Marina Barsy Janer x Isil Sol Vil at La QuNa is conceived as a living ecosystem where matter, body, and territory intertwine. The site-specific performance is not presented as an isolated event, but as a continuous process of accumulation, wear, care, and transformation activated by the context and the experience of the place.
The installation brings together plant remains, soil, dried algae, roots, seeds, and repurposed industrial containers, arranged in precarious supporting structures. These materials act as active agents of a relational ecology: matter in transit that functions as a living archive and extended body. Each element carries memories of scarcity, resistance, and everyday survival.
The human body does not occupy a central or hierarchical place, but rather is integrated into a network of interdependencies between the human and the more-than-human. The performance emerges from an attentive listening to the rhythms of the space: its flows, fissures, and tensions, activating the place as a living organism, capable of exhaustion and regeneration.
The work is grounded in a poetics of radical care and subversive love. Caring is not a peaceful gesture, but a practice of risk, friction, and responsibility. Actions of contact, masks, and objects activate a profound awareness of shared fragility, proposing care as a form of intimate and collective resistance.
The performance unfolds across multiple temporalities. The remains, records, and traces do not close off the experience, but rather remain open to new readings and reactivations, understanding the archive as an extension of the performative gesture.
The residency at La QuNa offers a Pluriverse of radical poetry: a space where possible worlds coexist and non-extractive futures are imagined. The work proposes an ethics of care and a politics of affect that invites us to rethink our relationship with the land, our bodies, and the ways of life that sustain us.
Nasheli Juliana Ortiz González

 

In the last century, from the beginning of contemporary art in 1945, we witnessed a special group of artists who carried a very complex torch: that of exploring the inner world of the human being within the limits of the skin. We recall the starkness of the theaters featuring dead animals, the Vienna Actionists, who sought to liberate people from the terrors of war through these images; the tender self-mutilation of Gina Pane, who invited her closest friends and family to silently and patiently share small cuts on her own skin; or the spectacular crucifixion of Chris Burden on a speeding Volkswagen, in order to highlight the power of television by comparing it to human punishment. These are just a few examples of the philosophical postulate that by witnessing the abject, the terrible, and the raw, from a safe place, as a spectator and with consent, there is a liberation of the spirit, a healing of human suffering.
The body serves as both a direct and a metaphorical instrument for measuring existential pain. In a totally media-saturated and overwhelmingly chaotic world, the body is the most precise instrument of direct observation, allowing us, through our senses, to understand our limits, whether working, partying, or simply walking. The body lets us know our limits.
Now, in this first quarter of the 21st century, we witness the work of Marina Barsy Janer and Isil Sol Vil, artists who, we might think, seek ways to become inextricably linked to one another, healing those who witness their balancing rituals, their powerful rain of symbolisms, their stealthy movements, and their “pluriverses of radical poetry” in performance. They propose peace, with a sustained source of actions on human aesthetics, which, despite the turmoil of a global society in perpetual crisis, demonstrate that Planet Earth remains a place brimming with loveliness, beauty, and breathtaking nature.
Quintín Rivera Toro