The visitor is involved in a controlled space. The main role there is for the exhibited architecture works. The pieces, which contain the information, which enc lose this interstitial space, are generated from a mesh of hexagons and cubes which appears in the de-fragmentation of the wood pavement of the “Palacio de Sobrellano” (Sobrellano Palace). An Escher sequence draws possibilities of combinatory between pieces, marks the geometry of the edges and edges with a pattern of leaves and birds, printed on the dark side of the exhibiting lamps. Therefore this itinerant project has something from a particular place, from its first host.
The exhibition space is composed by thirty one autonomous volumes. These volumes offer a flexible answer, adaptable to different scenario, self-contained, self-illuminated and compacted. Each volume showcases a work. The environment is controlled by means of an illumination which lets the fantasies inducted in visitors minds float in the air, and also by a single material for the support of the works exhibited. The works are placed giving different scales of reading depending on the approaching to each piece. Therefore slow routes closer to the works are created and also faster routes more distant and visual. The exhibition is an approach which contains all the works in a single space. It is recommended to visit the work in its context in order to experience it.
In the “Palacio de Sobrellano” (Sobrellano Palace), the exhibition involves inner spaces which neutralise the excesses of its rooms. The visitor is guided through the connexion of the different rooms and by the sight of another spatial sequence. The access to the balcony is incorporated as a symbolic act of this Biennale which includes Urbanism for the first time, inviting to enjoy a panoramic and an ephemeral intervention of land art which shares the time frame with this 9th Biennial of Comillas. By this an interference or pause which returns us to the environment from we were taken is included.
Between the spaces for exhibition these volumes of light are stored and transported coupled in two by two. They wait to be placed randomly or by the intention or the wish in their next destinations. The different aspects in their dispositions are basically reduced to two types of spaces for exhibition: the space which takes you into a sort of “tripe” were the exhibited works are absorbed; and the reversible, which shows the positive side to the outside nestling an inner room where parallel exhibitions can take place.