22 (…) that invisible breeze filled me with a strange but at any rate interesting sense of well-being, and that in itself, I felt, justified my whole journey to Kassel. I was fascinated by it and not worried about why it exerted that attraction upon me. Perhaps it was sufficient to know that it produced an immediate state of good humour in me, which was the same as what happened to me with the intrinsic pleasure of mornings – which I compared with the art of forgetting, the art of unremembering that was as light as the first breath of morning and always liberating – whereas, in contrast, afternoons and, especially, nights only led me to a feeling of malaise because I found them as grave and bitter as the art of remembering, an art that only brought the tenacious recollection of the past and that was the terrible ally of melancholy and resentment. Enrique Vila-Matas The largest section of this room has a structure that suggests three blocks, which in turn are related to the three large windows that give it a view of the terrace outside. It is good to know where we are located, to understand where the mutations that are housed in this space may lead, in relation to their immediate past. There is a persistent search for balance between technically diverse works and objects, and between artists of different nationalities and contexts. Collapse and mutations are also globalised and run transversally across different periods and situations, as if in a present that has no end.
In transit
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