Forking Paths

“I imagined a labyrinth of labyrinths, one that would encompass both past and future, winding across the face of the earth like a serpent and somehow gathering the stars into its paths.

I leave my Garden of Forking Paths to various futures—not to all of them.”

— Jorge Luis Borges, The Garden of Forking Paths

Conceived around a labyrinth as a model—or allegory—of the world we inhabit, structured through continual choices, paths with no exit, and endless repetitions, this exhibition proposes a mental parallel between the labyrinth and the conditions of surveillance, directed choice, and inescapability that shape contemporary life.

The labyrinth’s spatial configuration emerges as the result of a specific algorithmic necessity, through its paths, exits, dead ends, and infinite loops. Encountering this structure, the viewer is invited not to produce an aesthetic or symbolic interpretation, but to confront the system through its own internal logic. Each path is simply the outcome of a defined variable; it neither requires nor allows for subjective validation.

In this sense, the structure can be understood both as an expression of a rigorous mathematical order and as a reflection of how that order unexpectedly resonates with contemporary conditions of existence. The labyrinth is the physical manifestation of a mathematical form: a predetermined 64 × 64 adjacency matrix translated directly into space. Yet precisely through this direct translation, the structure inevitably begins to accumulate metaphorical meanings of its own.

Ultimately, the project positions mathematics as an autonomous subject rather than as an instrument of artistic aesthetics, while revealing the unexpected resonances that emerge between a formal mathematical system, its physical and spatial manifestations, and the world in which we live.