On this occasion the guest artist is Jacobo Castellano, who launches a project called The Tablecloth and de Curtain, which is produced right from the beginning in the exhibition hall , and in which concepts such as processualism, relationalism and improvisation play a fundamental part.
At the start of the project a sculpture welcomes the public. It is a commemorative plaque without any type of inscription, covered with a small curtain. There is nothing to inaugurate.
The project will be started by sending a series of drawings by e-mail and fax to ten people, who then re-send them, forming an endless chain of participants. These will send to the museum any documentation that is suggested to them by the information received, either in the form of ideas, new drawings, diagrams or commentaries of any kind. The faxes/e-mails will be received continually in the exhibition room itself while the project lasts, and will be used as key tools in the works to be produced there, whether as physical media or as documents. Members of the public will enter the hall during the whole process and, as well as witnessing the variants in real time, will have the power to modify the work of art simply by sending a message. Any document received can change the course of the art work in progress and send it in an unexpected direction.
Jacobo Castellano (Jaén 1976) has dealt for some time with subjects such as memory and the living space as a place of conflict. For this project he takes as his starting point an experience in New York. This provides the inspiration for the drawings sent by fax and e-mail in the first stage of the project. About a year ago, he paid a visit to Coney Island, where there is a sort of decadent, obsolete funfair with a variety of circus acts, whose protagonists could well have stepped out of a film by Tim Burton or even Luis Buñuel. One of these acts consists of a small house with a notice promising visitors that, for the very reasonable price of half a dollar, they will be allowed not only to see but to speak to « the smallest woman in the world». When you go into the room you find Elizabeth sitting in front of an old round table on which there are documents certifying that she is indeed the smallest woman in the world. She is deformed, extremely thin and has uncombed hair. At this moment, the sensation of degradation and discomfort is extreme. When he went back months later to photograph the "attraction" - a curious use of the word open to a wide range of interpretations - a fairground attendant commented to him that in the winter they take it to Florida, where the temperature is more pleasant. It would be better for it to be in new York in winter so as to be able to hide one's reaction behind the Spanish saying « It is so cold that even words freeze».