In 2017 Valentina Alvarado Matos (Maracaibo, 1986) and Carlos Vásquez Méndez (Santiago de Chile, 1975) began a kind of 'nameless collective'. Since then, the artists, both filmmakers, have worked individually and together, developing a body of work dealing with film images through two shared interests: cinematic self-referentiality, i.e., a cinema that speaks of cinema itself; and an emotional and sensitive narrative that arises through experience.

Their fascination with the illusory technique of the cinema has led them to focus on issues such as the luminous existence of the moving image and its perceptual effects on our retina. They even understand its artifacts—celluloid, the projector and the screen—under a sculptural conceptualization that strengthens the links between the cinema and the visual arts. From the narrative point of view, entirely face addresses qualities of identity that are attached to places and moments of affective belonging, and it does so through a slow and essential approach in which the micro-level—a stone, a body—opens layers of meaning arising from symbolic and telluric connections.

The exhibition is thus the reverse and a continuity of el otro aquí, an exhibition held from February to April at Centre d'Art La Capella within the Barcelona Producció 2024 programme. Both exhibitions tell us about a personal memory marked by distance: while el otro aquí manifests itself through the fleeting fragmentation of images, totalmente rostro expands its footage through a visual development suspended in time. Without documentary pretensions, without a fictional pact, simply by letting the images themselves support a possible story, totalmente rostro interweaves footage that explores primal connections with the land, thus blurring the limits of what we consider landscape.