Instalación en la que se expone un conjunto de dispositivos vacíos de presentación museográfica (marcos, vitrinas, proyecciones, etc.), distribuidos según el formato genérico de una muestra sin contenido, donde los elementos expositivos desnudos y su iluminación, carente de trabajos, era lo único que el público podía observar.
An installation that presented a set of empty museum display devices (frames, showcases, projections, etc.) arranged in the form of a generic show with no content, where the brass tacks of exhibition components and lighting were all that could be seen by the spectators.
Essentially an exposicion/ exhibition of works in absentia, of empty frames and mounts; or, by implication, of certain formats and bases that are more or less standardized, employing only frames, passé partouts, windows, exhibition stands, and furniture, as well as the precise projection of light as one more form of halo/ frame, in addition to certain codes of distribution, layout, placement, atmosphere that are customary to the diverse artistic typologies which the diverse parts or elements of the installation refer to: from 19th century painting, the triptych or the series of drawings, engravings or photographs, to the expanded/ alternative contemporary means—drawn in part from the media and advertising repertory—of film or slide projection, the multi-monitor video-installation or the billboard. Always containing or delimiting an empty white surface (white noise of “snow” in the case of the TV monitors).
The installation focuses on the stereotype of modern display techniques, and the value system which they embody.