We are usually unaware of it, but all around us – for example in art and architecture – there are all kinds of shapes and motifs that are the result of syncretism: the phenomenon whereby one culture influences the other and even merges with it. The Venezuelan artist Sol Calero (Caracas 1982), who lives in Berlin, examines this idea in her work, as in ‘El Patio’. She places the patio at the centre of this installation. Calero maintains that this architectural motif has permeated Latin-American culture to such an extent that the fact that it is the archetypal symbol of colonial architecture is swiftly forgotten. It was, after all, the Spanish who introduced the patio into the ‘New World’. By then, too, the patio had already undergone all sorts of influences from Arab culture. Calero unravels these kinds of cultural clichés. In ‘El Patio’ she also uses decorations as an example of syncretism – an allusion to the influence of Western Baroque on indigenous art. Calero thus examines, translates and interprets Latin-American art and architectural history and adds an individual slant to them in her work.