WORKS
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Projects
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The Power of Display
- BODIES THAT DON'T MATTER
- My BORDER
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Ripolletashecity
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Language//la_langue
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Panopticon_frontier 601
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Lead Silver Time II
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Lead and Silver Times
- The project
- Kafkian suitcases
- Banyuls – Portbou_muga 600
- Bentham’s Panoptic
- Silver moments - Hospitality
- Silver moments - Image's power
- Silver moments - Silver’s (the) wound
- Silver moments - The innocence of evil
- Silver moments - Polysemic house taken
- Silver moments - A goal to survive
- Return home
- Hoouseholds of La Seda
- In Residence-Antaviana
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Plom-Plata
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Anotherend.The remainder
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Discomfort politicisations
- Combinatorial optimization
- Trilogy of privacy
- Antikeres
- Domus Aurea
- Sybil
- Among book wings
- In the inner wine cellar I drank of my beloved
- Europe TV
- Small oranges from China
- Landscape memory
- Constelaciones
- Disappeared Missiones
- Wound of time
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River of silver
- No water
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Videos
- Introducction
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Video installations
- Panopticon_frontier 601
- Kafkian suitcases
- Kenosi- Anti-Keres
- Among book wings. Book of sand
- Among book wings. Josefine
- Among book wings. Das Kind
- Domus Aurea
- Sybil
- Desire
- Wound. Narcissus' astonishment
- Wound. Holy Shroud
- Wound. Madelaine
- Cardamom
- From the Pampa to Les Garrigues
- Europa TV
- Europa TV. The viewer
- Correction
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Single-channel videos
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Video - Documentary
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Video - poems
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Photographs
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Paintings
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Drawings
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Correcció
- CAPS.A.10
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Editions
Cardona Room
The Power of Display. Gae Archive
8-Channel Video Installation
Video installation, containment, balance, play and enigma
The installation, displayed in two rooms (educArt Space and Room 14), which fairly closely correspond to the places made visible in the basement, culminates a process of research into the structure of the Museum and the architectural reform by Gae Aulenti between 1985 and 2004. The proposal includes three circus characters who move and interact within the foundations of the building as agents of balance, containment and play.
The display is in dialogue with the layout of the architecture, understood as the accumulation of strata and layers that refer to its operations, its hierarchies and its history. The division between the visible and the invisible is thus put into question, between the museum space dedicated to art, the spaces on display and the spaces that are supposedly merely functional, often hidden, but which, in turn, are the essential agents for sustaining this artistic heritage legacy, which is at once so powerful and yet so fragile.
The Cardona Room made it possible to concentrate information about what could happen at a depth of 6 meters.






