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Intimacy Installation Wraps Public In Textile Arms

• By  Textile Excellence
• June 15, 2026

Madrid-based art collective Luzinterruptus has created a conceptual installation called Caressing Zone. The installation features hundreds of translucent textile arms suspended from a large scaffolding structure. Made from white, stocking-like fabric, the arms hang loosely and move with the wind. As visitors walk through the structure, the arms gently brush against them. People are also encouraged to hug and interact with the installation.

The artists describe the work as a response to modern emotional distance. “At a time like this, filling public space with gestures of care and caresses almost starts to feel like a subversive act,” they say. The aim is to shift something private and personal into a shared public experience.

The arms are intentionally imperfect and constantly changing. Wind and human movement ensure that no two moments inside the installation feel the same. From a distance, the structure appears as a soft glowing mass. Up close, it becomes a tactile environment of motion and contact.

Luzinterruptus is known for using light and simple materials in public art projects. In this concept, textile stockings are used both as structure and symbol. The focus is on softness, folds, and movement rather than anatomical precision.

The collective also frames softness as a form of resistance. In their view, modern urban spaces are dominated by speed, control and rigid structures. This installation introduces instability and physical closeness instead.

Caressing Zone is still a concept, but the artists hope it will be realised in public spaces, where it can encourage people to slow down and reconnect through touch, even briefly.

The artists describe the work as a response to modern emotional distance. “At a time like this, filling public space with gestures of care and caresses almost starts to feel like a subversive act,” they say. The aim is to shift something private and personal into a shared public experience. The arms are intentionally imperfect and constantly changing. Wind and human movement ensure that no two moments inside the installation feel the same. From a distance, the structure appears as a soft glowing mass. Up close, it becomes a tactile environment of motion and contact.