come and see.

In the courtyard of my home, a living room betrayed, intimacy becomes a constant exhibition: the domestic circulates, the distant enters the frame, and surveillance oscillates between parody and awareness.

The scene is no longer anywhere. It is everywhere.

There is no outside. Only bodies, images, and gazes trapped within the same circuit.

A collective fiction in which intimacy survives only as a residue, as a simulacrum.

Come and see is an installation created as part of La Gran Paternal, 16th edition—an event held twice a year in which artists’ studios in the Buenos Aires neighborhood of Paternal open their doors to the public. For this work, a television set displayed live feeds from 24 surveillance cameras located in different parts of the world and accessed via the internet. At the same time, a camera was installed to capture visitors and stream its signal online, making them part of the same network of observation.

Rather than denouncing the existence of the surveillance systems, Come and see investigates how their omnipresence ultimately renders them almost invisible. The ease with which one can access surveillance cameras from anywhere in the world mirrors the ease with which the image of those inhabiting the exhibition space is broadcast, revealing an infrastructure of continuous observation whose presence often goes unnoticed. Through this shift, the work explores how surveillance technologies not only record space but also shape specific ways of inhabiting it and of understanding one’s own exposure to the gaze of others.