art

Entre domingo y domingo

Entre domingo y domingo (From Sunday to Sunday) is an installation that shares its title with Ana María Caballero’s first poetry collection, published a decade ago after receiving Colombia’s José Manuel Arango National Poetry Prize and reprinted in 2023 by Valparaíso Ediciones.

The installation, presented at Galería Max Estrella in Madrid, employs a minimal material vocabulary: everyday clothing, red thread, poems printed on fabric, and a great deal of silence. In the book, every alternating poem is a “Sunday.”

The installation makes the book’s creative proposal visible, presenting human readership as a spacial experience.

Sunday-poems are printed on T-shirts; non-Sunday poems appear on collared shirts. The contrast—sweat versus starch—signals the two rhythms that shape our weeks: the exceptional that pulses and the ordinary that sustains.

The project was meticulously planned over months, with special attention paid to the color of the fabric on which the poems is printed, ensuring it achieved a tone perfectly resembling a page. The thickness and tonality of the red thread was also tested numerous times to obtain an evocative dash effect from a distance.

The making of Entre domingo y domingo, Madrid, 2025.

The work is presented as two triptychs, six pieces in total, each with a different poem. Both triptychs maintain the order T-shirt, collared shirt, T-shirt, with the sleeves barely brushing one another to underscore the unity of the whole. The garments hang from clotheslines with wooden clothespins, arranged at two heights, generating perspective and a layered reading.

The clothesline is a recurring motif in Caballero’s work, symbolizing the act of accessing the transcendent through the mundane. This motif appears in other installations by the artist, such as Fifty Ways of Looking at a Poem, where the search for the transcendental is woven from the mundane.

Entre domingo y domingo, Installation views, Max Estrella Gallery, Madrid 2026.

The poems are printed on fabrics, then attached to the backs of each garment with red thread. This stitching introduces the breath of the dash—a consistent symbol in the author’s work—as a bridge between verse and life. It does not illustrate; it sutures and underscores.

Placing the texts on the back recalls how the unsaid is carried, while the red also alludes to intertextuality, the act of writing over existing texts. At the end of the path, the needles hang, bearing witness to the manual labor and the effort of producing meaning before the onslaught of time.

The architecture of the space—a narrow rectangle painted black—concentrates the gaze on the garments, accentuating the emptiness, or the unsaid, between its walls.

An audio track with the poet’s voice reading the same six poems printed on the garments accompanies the room. This overlap of visual and auditory reading creates an intimate, immersive experience, inviting each visitor to encounter poetry across multiple mediums and at their own pace.

From Sunday to Sunday transforms the common wardrobe into a poetic device: garments become invitations to close reading and each seam provides a margin of meaning.