for example ... The exhibition space within a gallery or museum site is presented as content, ie which is a space battleship mannered instigates a fortress from the inside out and outside in, so it is clear that there is wound with a certain character a power play that opposition happens in an act of inclusion or exclusion. It is an object of desire, which is to arrive, which it wants to enter, be in or be outside, to reach non-stop, also log on deny.
It may be noted, which is invested in white space and that this vacuum yielded, among other things, is an area that rises from countless viewpoints and is named as the white cube. It is a space framed under the boundary condition but with the imminent possibility of operating from the edge, which involves taking the necessary distance to find the turning point in the space provided.
For example ... symbolic displays in his condition, the striker, as a benchmark of what once was a tool to tear down walls or fortresses, that tackle, became the first siege weapon that effectively allowed overcome obstacles the mentioned bastions. "The door is always open then emphasizes the inner wall, it reminds us that to close it would have been sufficient to prevent the passage" 1
However, what appears as construction of physical space, is given from the concealment of what should be is say that from their physical appearance that conceals what is actually, because, in the silent space that reveal clues appear, the test of time or forgetting things that are or appear old, things that appear in the eyes , sedan through impulses, instincts, movements or events that occur in the mismicidad of things themselves, there are things that become visible, emerging from the hidden things bowels of the same things, but they are evident as they are just a setback or obstacle on the road. On the other hand
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The object becomes a white mass in a volatile body of great expansion, in each of his limbs its base is a circle which may be comprised in proportion to a body with outstretched arms; these two extreme parties can be understood as the beginning and the other as at the end, however, and for purposes of making clear there is no such relationship between the object itself and perhaps this in itself is in correspondence with the space.
With regard to the body in space, suggests that it is like a capsule whose content is not more than the same circles on the outside, the air, implicit in the gallery space, is the concept underlying both as food and standing walls of the great mass voluble. Regarding the size of the object that was mentioned earlier, it appears to do a tour along about fifteen paces back and equally as many back.
however, is not exactly the air suspending the white mass in space, are only six tensors arising from the roof of the exhibition space, to be attached with bands of the same material of the object to be supported, however, as the material has not been named, is the time to do so, his condition is matérica rubber, if you have any importance in understanding what happens to the object that may arise in its entirety.
Therefore, there are six bands that girdle mannered abdomen embrace the dense body to rest so much rested on one or the other.
This makes the object becomes a device, a device ready to plug in a silent machine, a mechanism that asks the other to be aggregation machine. Machine may desire.
After climbing the stairs from first floor to the second, there is suddenly a white object that swings in space, is an object that directly threatens the entrance gate does not exist. The object enters and exits the empty space of the door in a hostile swing subsides after several attempts from an activation to an agonizing life on the border demarcated space, at first glance suggests a circle, once the object is moving, on an impulse, push or jolt caused by a subject, in addition to what is the other and only then, result in a surprise outcome of what is, in what appears, what touches us, what is it, what is not , of the thing, for example ...
1 SAW Santiago. Flag of Spain. 50 ª Bienal de Venecia. pg., 168, Edit. Turner. 2003
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