YOU, ME, AND ALL THE WIND IN BETWEEN, AT NINA JOHNSON
The gallery presents the work of Constanza Alarcón Tennen, which deactivates the hierarchies between viewer and object, thus focusing on intimacy and the connection between bodies and materials.
Nina Johnson opens on February 12 its spring 2026 exhibition program with Tu, yo, y todo el viento entremedio (You, me and all the wind in between), a solo presentation by Constanza Alarcón Tennen, whose interdisciplinary practice spans sculpture, sound, performance, and video. Grounded in an exploration of sound as a physical and relational force, her work proposes sculpture not as a fixed object, but as a multisensory, activated encounter—one that unfolds through touch, breath, movement, and collective presence.
At the center of the exhibition is a large, suspended stoneware whistle sculpture that can be activated by up to five participants simultaneously. Throughout the gallery, additional sound sculptures—many of them ceramic whistles—hang from the ceiling or occupy distinct spatial nodes, inviting visitors to engage them acoustically and bodily. These works function as reciprocal artifacts: objects that are at once sculptural forms and instruments. Seen, touched, and sounded, they dissolve hierarchies between viewer and object, performer and audience.
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Constanza Alarcón Tennen. Tu, yo, y todo el viento entremedio (mudras de nazca) series, 2025. Whistles; Stoneware 6 x 3 x 6 in. Courtesy of Nina Johnson
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Constanza Alarcón Tennen. Tu, yo, y todo el viento entremedio (mudras de nazca) series, 2025. Whistles; Stoneware 20 x 5 x 4 in. Courtesy of Nina Johnson
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Constanza Alarcón Tennen. Tu, yo, y todo el viento entremedio (mudras de nazca) series, 2025. Whistles; Stoneware 14 x 14 x 10 in. Courtesy of Nina Johnson
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Constanza Alarcón Tennen. Tu, yo, y todo el viento entremedio III (mudras de nazca), 2024. Polytonal whistle for five mouths; Stoneware, rope, 20 x 20 x 14 in. Courtesy of Nina Johnson
Alarcón Tennen’s sculptures are informed by pre-Columbian sound artifacts and emerge from an ongoing investigation into what she describes as sound/haptic objects—forms that extend the body while remaining deeply attuned to sensuality and perception. Her practice reimagines sculpture as a non-hierarchical, bidirectional exchange, emphasizing intimacy, connection, and the porous boundaries between bodies and materials. Throughout the exhibition, sound becomes a means of articulating an eerie intimacy across time and space, where geological memory and erotic tension converge.
The exhibition also includes a new ceramic-and-speaker work incorporating amplification and recorded sound, as well as drawings and two video performances from NAZCA/SUDAMERICANA, a trilogy that poetically reinterprets the relationship between the Nazca and South American tectonic plates.
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Constanza Alcarón Tennen. Photo: Cristóbal Cea. Courtesy of Nina Johnson
Installed within the gallery’s bookshelves, drawings, videos, and ancillary objects operate as an open notebook or cabinet of curiosities—satellites to the primary sculptures that reveal the conceptual and material thinking behind the work. Together, these elements underscore the exhibition’s multivalent nature, blurring distinctions between sculpture and performance, object and instrument, stillness and activation.
Born and raised in Chile, Alarcón Tennen is based between Boston and Santiago. Tu, yo, y todo el viento entremedio marks an expansive presentation of her recent work, foregrounding sculpture as an embodied, participatory experience—one rooted in sensuality, connection, and the resonant space between bodies. During the opening of the exhibition, a performative activation of the whistles will take place.
The exhibition will be on display from February 12 to April 18, 2026, at 6315 NW 2nd Ave, Miami, Florida (United States).
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