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        "rendered": "<p class=\"wp-block-paragraph\">In <em>Series Contents<\/em>, Manuel Calder\u00f3n continues his exploration of the relationship between the body and space, shifting his focus to the limits imposed by the image itself. The work consists of a series of life-size portraits in which different subjects appear simultaneously as pencil drawings on paper and as video on a digital screen. Both images are framed within the same structure: an 8-inch-wide rectangle, taken directly from the dimensions of the screens used in the installation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Drawing and video are presented side by side, creating a play of equivalences. While the drawn image captures a fixed instant, its digital counterpart appears equally static but reveals subtle movements\u2014breathing, blinking\u2014that mark the passage of time. The screen not only displays the image but also contains it. In this sense, the work revisits the idea of <em>containment<\/em> already present in previous projects: if before, the body inhabited enclosed architectural spaces, here, its representation is confined within the formats that structure contemporary imagery.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The project also engages in a reflection on visual standards. In photography, art, and video, formats have been created to establish proportional relationships between images and the human body. Just as architecture defines the physical spaces we inhabit, these visual frames determine how we represent and perceive ourselves. In <em>Series Contents<\/em>the human face is inscribed within these predefined structures, revealing the tension between the organic nature of the body and the geometric limits that contain it. This opposition\u2014between the corporeal and the structural, present both in visual formats and in architecture\u2014becomes a foundation for later investigations into geometry as a limit. <em>geometr\u00eda como l\u00edmite<\/em>.<\/p>",
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