Una pedagogía sesgada

 “A slanted pedagogy”


Intervened textbooks


An installation formed by textbooks, slanted at a diagonal angle to make reference to “slanted information” – a term for information that is not impartial and that evades or ignores one side in favour of the other.

Textbooks reflect a viewpoint of the social and cultural reality which corresponds to the majority culture. The most frequent forms of bias in contemporary education consist of inaccuracies, stereotypes, omissions, distortions and partisan language. In the majority of materials analysed this bias reveals itself in information that is not very respectful with cultures different to our own. This information is presented uncritically and with too much complacency regarding the place and time under discussion.

In 2014, a collective of Spanish teachers denounced the publication of two textbooks, intended for primary school children, which omit the circumstances of the death of playwright Federico García Lorca. The books present his death in 1936 as a collateral effect of “a Spanish war”, failing to specify that in reality he was executed by firing squad on the orders of the fascist forces during the Spanish Civil War on account of his political affiliations and homosexuality.

Even though the information they provide is not incorrect, these books are omitting extremely relevant and sensitive information, clearly revealing the political motivations of the books’ editors and of the political parties behind them. This lack of objectivity (unacknowledged) converts many educational textbooks into material for indoctrination: the perfect tool for introducing historical and social distortion into the classroom.

An attempt to make perceptible the imperceptible

“Un intento de hacer perceptible lo imperceptible”



Homesession studio

“An attempt to make perceptible the imperceptible” has been conceived  as a site-specific installation that tries to change the perception of the exhibition space.

The main point of departure of the installation revolves around diverse currents of thinking that seek to reconsider the exhibition space, arising from art history, institutional critique and education. These theories call for a museum far removed from the strict protocols regarding space, freed from the established codes that maintain a physical and emotional distance between the public and the object.

To resolve this abyss, this project explores the euphoria that playing can provoke.

The 4 hours of the opening, a canon indiscriminately bombarded the entire Homesession space with 30 kilos of golden confetti.

The confetti, apart from falling on top of the spectators and inundating the entire space, fell on top of a table, in the form of a vitrine, something fairly typical in a traditional museum, where cuttings from books about museography are shown. One had to look for the information, clearing the top of the table and casting aside the traditional role of the simple observer.

Lo que no se percibe a la luz

What is not perceived in the light

La situación 2016 (Cuenca)

Silkscreen on cardboard


Lo que no se percibe a la luz (What is not perceived in the light) is a label, seemingly with nothing written on it, located in a part of the exhibition space where it does not obviously refer to any artwork. It appears to be a museum error.

But when the lights of the exhibition room go out, the public leaves, and the exhibition space is no longer active, the text – printed in fluorescent ink – becomes legible.

The next day, when the museum reopens to the public, the label text is invisible once more.

Lo que no se percibe a la luz plays with the multiple contradictions of the exhibition space (light and dark; full and empty; information and misinformation; intention and error) by way of a generic contradiction: the work fulfils its function when the public is not present.

Quan el museu tanca les seves portes

“When the museum closes its doors”


MAC (Mataró) 2016

This project is a site-specific intervention exploring the relationship between art and magic, from prehistory to the avant-garde. The walls of the exhibition space in Can Palauet were covered with a series of phrases, collected from a variety of sources, talking about how art has been considered a method of communicating with the invisible.

The only way to read the invisible phrases is by taking part in a performance which begins at 8 PM, when the museum closes its doors, turns off the lights, and the exhibition display is deactivated. This performance functions as a “guided anti-visit” or “non-guided visit”, in which the public activates the phrases with the aid of black-light flashlights. The experience is mediated only by decisions made by the public; the interventions of different performers; and the use of music, gesture and voice.

Institutional parasite


LED Lamp, earth, plant in a power strip

Matadero Madrid 2015

A dandelion shoot parasitizes an electrical floor socket in the exhibition space and grows there artificially for the duration of the exhibition.

Tending to this plant sets a precedent in the institution: permitting the use of the electrical system as a flower bed and providing a category of care which the exhibition fitters and gallery staff are not accustomed to providing. The growth of this plant in the exhibition area involves an adjustment in the customary dynamic of the artistic institution – not only for staff, but also for visitors finding themselves before a work which has a different temporality and which changes each time they visit.

The title of the work is inspired by an essay by Janna Graham about new institutionality and the idea of the “Institutional Para-site”.

Museo legítimo

Legitimate museum

Intervention in lockers



An intervention at the museum’s ticket offices and a collaboration with the artist Martín La Roche. Part of his collection of his “Legitimate museum” is exhibited as a small exhibition inside the different lockers and the keys are distributed through the different rooms of the museum for the public discover it freely.