For Abelardo Gil-Fournier (Rabat, Morocco, 1979), artistic practices are not expressions of individual subjectivity, but rather environments of continuous mediation through which other scales become visible.

Hacendera is a choir of twenty-four terracotta pots rotating on potter’s wheels, twelve of which are connected to small motors. Because of their irregular shape, the pots do not rotate independently: they rub against one another, propel each other, and transmit the movement to the whole. Two simultaneous and inseparable processes emerge from this friction. On the one hand, the constant clatter of small collisions, which causes the inside of each pot to vibrate and sends the sound echoing throughout the room.

On the other hand, a gradual physical transformation: friction erodes the surfaces, reveals the contact marks and causes a slow accumulation of clay around the bases. The work —originated from a collective process— incorporates this same logic into its structure: its movement is only possible through the relationship between its parts.