24 ÁNGELES MARCO Escalera mecánica, 1987 Mutation must be understood, firstly, as change. In this space there is a predominance of sculptures that represent passages, intercommunicating spaces, staircases and other devices that act as a link between different situations, such as Ángeles Marcos’s Escalera mecánica (Escalator) and Pasadizo de pared (Wall Corridor). Connectors that allow us to pass, to move, to imagine the transit between a known situation, from which we set out, and one that is only imagined, towards which we are heading. The work by Cristina Iglesias acts in this way, and so does Bruce Nauman’s Model for Tunnels (1980), in which the precariousness of the formal exploration questions its functionality but is also the very essence of passage. In contrast, the two works by Dionisio González, Jornalista Roberto Marinho I and II, allude to the metamorphosis of natural/inhabited territory generated by favelas, a logical result of societies in which the disproportions are insuperable. The organic grouping of the urban layouts that are derived from this correspond to a sense of belonging to a place, understood in the broadest sense of the term.
In transit
To see the actual publication please follow the link above