* Vernacular, from the Latin vernaculus: 'born in one's house'.

* Greenhouse, from the Latin hibernaculum: 'covered place to protect plants from the cold'.

(IN)VERNACULO presents a myriad of temporalities and spatialities that become part of the nature in which they are displayed, being at the same time home and refuge, a place for play and reflection. Starting from an interest in theories about ecological relationality in the sense of an ecology of intimacies, the Silvar Collective rescues remains of traditional pottery from the Mediterranean coast and (re)integrates them into a new land, returning them in a symbolic exercise of repair and healing. The climate crisis, precariousness and the inter-species relational question are themes that hover over an installation that raises, through a counter-catastrophic imaginative effort, the urgency of a more self-reflective look at collective memory and shared territory. This exercise of respons-ability is also a performance about the significance of the materials and the processes of the earth itself, but also about the exile and diaspora of the beings that inhabit and adapt to the changes on the planet. It is, therefore, a metaphorical act of conservation, recovery and remembrance. The Silvar Collective fictionalizes a natural history that includes mourning for destruction and irreversible losses while building new shelters for a wounded blossoming. The dialogue it proposes between the artisan and the technological, the material territory and the virtual terrain, tradition and the future that is to come through the digital piece that accompanies the installation is therefore fundamental.

Using the fable and the intrinsic game of a playground, it traces a story by constructing a path whose tiles are the broken handles of traditional pottery jugs, vertebrae that direct the attention of the visitor-walker towards an allegorical fountain composed of other jugs that nature has already reconquered. This archaeological search for knowledge and memories of the world is guarded by a set of drinking fountains that refer to the rest necessary for the sustenance and collection of water of migratory birds called salmaya (a name of Arabic origin that means “salt water”). This stop on the path that every nomad makes to quench their thirst in the face of their uprooting is duplicated by the immersive central structure, replicating the shape of a breast or house that these drinking fountains present. Like a greenhouse or hothouse, its skeleton is made up of remains of demolition materials, suggesting a new recomposition of the fragmented memory of shelter and protection. (IN)VERNACULO is located on the El Patio site as memory is located on the most fragile level of thought, occupying the stratum that zones memory, always a servitude to a history. Zoning memory can mean producing it, modifying it or maintaining it. The division of space is thus also subordinated to the division of memory. (In)vernaculo then represents a repaired place.