La casa llena de pájaros y la cabeza sin barrer (The House Full of Birds and the Head Unswept) brings together six artists based in Mexico whose practices operate at the threshold between balance and collapse. A significant number of the works presented in the exhibition were created during their respective residencies at CCA Andratx.

The title itself evokes a state of overflow: an interior space in which the untamed breaks through, disrupting an order that can never fully contain it. The house — a symbol of structure, shelter and stability — is here permeated by unexpected presences, while the “unswept head” suggests a mental territory open to error and misjudgement. It is a space of dust, remnants and fragments, where disorder becomes an opportunity for new associations and ideas to emerge.

At the intersection of the domestic, the mental and the structural, the works explore fragile states of balance through configurations that seem to exist at their limits, structures that challenge gravity, and surfaces that reveal cracks, shifts and tensions. In this sense, the works exist withina state of contradiction: between the monumental and the minute, the delicate and the solid, the flexible and the rigid. Drawing on everyday, often modest or even precarious objects, the artists transform the gallery into a space of material and physical experimentation. Delicate paintings weave their way along the walls, coming face to face with large-scale structures that appear to teeter on the edge of collapse. Rather than static objects, the works emerge as states of tension in which collapse remains an ever-present possibility.
They prompt the viewer’s common sense to search for logic and stability, even as the works continually undermine both. In this sense, the materiality — at times heavy and dense, at others subtle or almost imperceptible — takes over, and establishes a constant dialogue between resistance and fragility. These are structures that simultaneously hold and give way, challenging preconceived notions of what an artwork can be.

Within this context, fragility becomes a form of potential. Like the birds that fill the house, unpredictability enters seemingly solid structures and unsettles their boundaries. Disorder thus ceases to be merely a threat and becomes an opening: the possibility of imagining “other ways of inhabiting the world.”

Special thanks to Álvaro Bauzà; Artymol, Bruno Daureo; Chilate; Ferretería Son Garrit; Florin Olariu; Gerreria Pere Coll — Marga Coll, Pere Coll and Miquel Tomàs —; Jackie Herbst; Joan Miralles; Marcelo Viquez; Toni Moyà y Miquel Llabrés Il·luminació; Paumes i Brins — Pep Toni Ferrer and Magdalena Vidal —; Pep Suari; Pradas Art — Gumer Pradas and Toni Pau Pradas —; Rafa Herencia; TuCasa; and to Patricia and Jacob Asbaek, Rodrigo Atiencia, Alicia Barriuso, Darlyn Carreira Krause, Esma Derdour, Manuel Espinosa Rodríguez, Selma Lesage, Magdalena March, Juan Pablo Pabon Zapata and Hannah Shelepaieva, the team at CCA Andratx, for their generosity, support and guidance throughout the process.