Todo esto que parece Inventado

"Todo Esto Que Parece Inventado" invites viewers to explore a universe where memory, heritage, and imagination intertwine to form new affective geographies. Inspired by magical realism and her personal experience of migration and mixed heritage, Dahlia Dreszer reconstructs environments that oscillate between the intimate and the fantastical, the domestic and the ceremonial.

Motivated by family stories, Dreszer draws connections between flowers, molas, and ritual objects used by the women in her family, such as Shabbat candles, Sephardic cookbooks, and the menorah, which creates a bridge between mother and daughter, tradition and modernity.

Through photographs that blend flowers, textiles, personal objects, and symbolic references to her multicultural lineage, Todo Esto Que Parece Inventado proposes a hybrid aesthetic deeply rooted in Panama. Molas, presented as visual fragments, are approached not as ethnographic artifacts but as poetic material, resonating with other heritages—Jewish, Arab, and Latin American—that coexist in her daily life. Rather than claiming to represent Guna culture, Dreszer enters into dialogue with it, incorporating its presence as part of a broader visual conversation on identity, transmission, and coexistence.