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Association NOEMI — Espace Brownstone / Katherinne Fiedler and Marinés Agurto

The body of work by Marinés Agurto and Katherinne Fiedler continues the research process developed during their residencies in Paris, with the support of the Cité internationale des arts and the Culture Moves Europe programme of the Goethe-Institut.
The project is structured around the relationship between local materials - natural, urban, and reclaimed in Paris - and industrial materials, generating a space of friction, translation, and continuity. Under the title Main de fer, gant de velours, taken from the French expression une main de fer dans un gant de velours, the proposal explores the tension between what sustains and what overflows as a system of forces that runs through matter.
In Marinés' work, the pieces investigate the construction materials of the Paris basin and their processes of transformation. Using reclaimed plaster blocks and pigments obtained from recovered tomettes, the works explore how matter can be fragmented, displaced, and reorganised beyond its original function. The elements are configured through visible assemblages - metal brackets, threaded rods, hinges, and screws - that make explicit the structural logic and the tensions that hold them together. Some pieces are anchored to the wall, while others balance or traverse the space, activating it as a field of relations.
The works made with tomette pigment introduce another temporality of the material, as deposits of origin and forms of permanence. They dialogue with Suelo Suspendido, an installation presented in parallel at the Petit Galerie of the Cité internationale des arts, where the tomettes become a suspended structure. In both cases, matter undergoes processes of change and reconfiguration.
Katherinne's work approaches water as a material, symbolic, and political element, taking as its starting point the Bièvre River in Paris, historically linked to tanneries, the textile manufacture of the Gobelins, and the city's hydraulic systems. Her works employ materials associated with this history, such as leather, together with elements that refer to the materiality of water itself. Held through punctual anchoring systems, they propose a reflection on the ways territory, water, and bodies have been channelled and controlled, as well as on the possibility of imagining more open relationships with the environment.
In Caudal, a metal mesh generates translucent volumes through folds and tensions sustained in an unstable equilibrium. In Garúa, suspended chains evoke both stretched threads and falling water, oscillating between rigidity and fluidity. In Fer, Velours compact structures coexist with flexible elements, where metal refers to containment while velvet introduces a subtle dimension. The project situates itself within this tension between precision and vulnerability.




















Artists in this exhibition
More at Association NOEMI — Espace Brownstone
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