The exhibition is predicated on a system of equivalences between elements generated in three phases. Euba calls the first phase additive: the creative process of this phase is based on the compilation of material-discursive text without images. Once accumulated, this material enables the beginning of the second phase which is subtractive. Here, the material is given visibility as an image on the physical plane. The image in this intermediary phase is like a transitory space or condition that, as if in a spectral weave, connects the first virtual additive phase with a later third constructive phase where the image turns into three-dimensional material with greater body that gives rise to a series of sculptures. For Euba, “seeing the image” is indispensable before moving on to this constructive phase.

The works on view in the exhibition could be divided into the works on the walls and the works occupying the central space of the gallery. The wall of the exhibition room can be viewed as a kind of screen for intermediation and the site for the intersection of material coming from an abstract (textual/mental) plane. Something that is “outside the exhibition space” and that, on entering the material world, generates its image that, during the second subtractive phase, makes visible fragments of that which had been outside. Later, these projections end up in the centre of the gallery space transformed into equivalent three-dimensional sculptural elements (in the third constructive phase).

Additional Notation and Equivalences. Exhibition Discourse Addressed to a Specialized Audience comprises three parts:

Notes for the camera-person in Re:horse

The series Notes for the camera-person in Re:horse is a device that includes 13 large-format panels. The series is based on a schema of equivalences coming from the need to communicate non-verbally to different individuals the role of the camera-person during the performance Re:horse. Each panel is comprised of two parts: the upper part, divided into nine sections occupied totally or partially by fragments of an image from Andy Warhol’s film The Velvet Underground and Nico, and a lower part, also divided into nine quadrants whose reference is a graphic depiction of Joseph Beuys’s action Titus/Iphigenia. The play of equivalences between the upper and lower sections defines the possibilities of the camera-person during the action Re:horse. Each one of the panels came about from applying a sculptural process to two-dimensional material. The images on paper have been manipulated through multiple folding until configuring a body that is fixed to a new support. Notes for the camera-person in Re:horse takes up two walls in the gallery.

 Additional Notes/Notes for the director in Re:horse (in Second Subtractive Phase)

This is a large-format silkscreen on plastic installation that takes up one of the walls of the gallery. The image of each one of the elements has been generated by means of a subtractive process applied to an orthogonal grid of lines, created in the original work, where the limited number of 21 variables discloses the dimension of the overall project within which they are inscribed. Coupled with these Additional Notes is an Equivalence which, in the third constructive phase takes the form of a large-format “sculpture” with the same title that Euba defines as: “Constructive Proposition”.

 Appendix/Int

The main hall of the gallery is rounded off with the “section” Appendix/Int which, similarly to Additional Notes, seems to be split into two differentiated supports by means of the application of a particular mode of equivalence described above: on one hand, the Appendix in Second Subtractive Phase, a silkscreen on plastic installation divided into seven units or chapters, generated by means of a process of subtractive drawing that occupies part of the fourth wall of the gallery; on the other, Appendix in Third Constructive Phase that gives rise to two independent large-format sculptures, both being reinterpretations of a historic piece of furniture that is here given other functions.

 In addition to these three parts, the exhibition also includes at the entrance to the gallery an intervention whose full title is Instrument for selecting two and four legged animals (Equivalence in Third Constructive Phase). This is a new physical and three-dimensionalmaterialisation comprising four architectural-sculptural elements, large metal filter gates that control the hypothetical access and entry of biped or quadruped individuals to the rooms open to the public within the gallery. The alteration produced by Instrument for Selecting… proposes a dynamic perception of space implicitly bearing the decomposition and physical reconfiguration of the entrance to the hall housing the exhibition.