Untitled (Imprint of memory)
Untitled (Imprint of memory) shows the coastal landscapes of several accompanied countries with sequences of symbols that obstruct the images. The shapes dominate the foreground, are one-dimensional, and calculated in contrast to the landscape behind. Is it a poem or a perceptive game, a psychological puzzle? that invites al spectator/the to create of his/her own associations and conclusions.
The project CONTAINER INSIDE is more than one piece. There are almost 160 pieces contained in 33 cubic meters. Few museums can afford to display so much new work of such diversity and quality, especially in these times, when culture seems to be subordinated to the needs of other sectors and emerging art is usually the first to be cut from institutional programmes.
It is difficult to find a straight forward definition of the project. It is a complex balance between a portable museum, a consultation room, an exhibition space and an archive of artist books, audiovisual files and graphics of self-released materials. It is really a device, a standalone “nomadic” display. It operates as a formal solution to the various problems which arise from the exhibitions of emerging art. As well as the display of work, the project encourages reflection on and discussion of: exhibitions in “between spaces” buildings, self-management and self-publishing, the nature of the nomadic and the itinerant, and the files and archives, as operational solutions to the economic crisis (adding to these reflections the pressure and destruction which cultural spaces and institutions have to deal with). The process could not and should not be anything other than self-management. As well as creating the individual pieces, the artists are also responsible for production and design, creating a versatile and portable project; nomadic and prepared for action.
The idea involves a macro review of portable art form. A concept that comes back to the Neolithic has been updated, when the nomads were forced to carry sacred objects in special bags. Since then, there have been many artists who were interested in new ways of exhibiting, experience and response to a display. They worked using “mobile devices” facilitating the access of the public to their work. Perhaps, the most notorious was Marcel Duchamp, who in 1936 began a project to build a smaller version of his works to be able to carry them inside a handbag. Here the title of the work: Boîte-en-valise (literally meaning “box in a suitcase”). Also, in this line are the Fluxus boxes, the Time Boxes of Andy Warhol or the project curated by Hans Ulrich Obrist, Nano Museum, a tiny analogical photo frame with the works, among others, of Yoko Ono, Gilbert and George and Christian Boltanski that ended up being lost in a pub.
This museum does not get lost. Firstly, because of the container chosen, its nature as an independent structure already prepared for its occupation. It has the contextual connotations of having been produced in Galicia. The museum is a shipping container of 33 cubic metres. Secondly, because all works are divided in a meticulous archive, with sections of artist’s books and an exhibition “loop” of audiovisual material. All are strictly classified according to the Dewey Decimal Classification System (DDC, Dewey Decimal Classification) (*) codes and references that are used by the Library of Galicia (a possible future international reference point).