I

t was during this period that Clark began working on what she called "relational objects," works open to public participation and activation. Under these principles, in 1974, she developed A rede de elásticos ("The Elastic Net"), which would, over time and successive activations, become one of her most significant participatory works. The rede de elásticos is, in essence, a network of interdependence between bodies, collectively constructed using elastic bands tied together. When activated, this relational object becomes a participatory action where hands build together, and participants cohabit a shared, though fleeting, space. It is as if this net could contain us, protect us, care for us, and help us be and feel as a community. In our atomized world, perhaps we need to continue building these elastic networks and allow ourselves to be embraced by them now more than ever.

The exhibition at Baró Galeria, the first retrospective of Clark's work in Spain since her institutional show at theGuggenheim, also includes other works by the artist, such as a series of geometric drawings from the 1950s, the models for her renowned Bichos, and documentation of other relational objects being activated by the public. The exhibition runs until November 10th.

[1] Lygia Clark and Hélio Oticica. Letters, 1968-1969. Ed. Claire Bishop.Participation. Documents of Contemporary Art. Whitechapel Gallery. The MITPress, London. Page 110.

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