Emergentes sets in place a random succession of artistic melodies, of objects engaging in forceful dialogues with the receiver, of experiences whose significance lies, rather than in the sum of the whole, in their specific inherent value. The exhibition lays them out in a subtle partitional sequence defining physical and mental spaces for each one of them. Intervening in the place from which one starts and where another one must end; in the sphere of the ritual of mental purification differentiating the various sequences in one single film.

Visitors decode the object. It is akin to a set design one passes through: a journey predicated on the principles of a play of seduction with the visitor, encouraging him or her to cross through it while discovering a new and neutral reality inside it –a place divesting the visitor of his received mechanisms of perception and preparing him to discover a new action on the other side, as if “from scratch”.

The stage props are masks, veils and membranes succeeding each other, somehow strung together by the rules of a minimal grammar in which light, matter and reflections build an interval, not unlike the fading to black that separates different scenes in a film, where black is the non-colour for those transitions.

A stage design removed from the concept of scenery that renders the two-dimensional space into a backdrop, instead suggesting the notion of stage devices that are capable of constructing a three-dimensional space for the reflection and transcription of the acts, sequences and actions that are being separated. Offering the beholder a space for his or her own connections with the work, a parenthesis for understanding or for fantasising. Ultimately, the purpose is to fulfil and at once reject its function.