Fantastic Interior is made up of four scenes, interventions that take place throughout the year by four different artists, whose common thread is issues such as intimacy, self-care and the construction of subjectivity. Through the practice of these artists -Ad Minoliti, Marina González Guerreiro, Eva Kot'átková and Korakrit Arunanondchai-, the curator Rafa Barber Cortell invites us to think about the imaginary that has been created around the "inner world".


The interior is understood in this program as that space in which modernity taught us to keep delicate and vulnerable feelings, those that are not shown in public, and about which it is increasingly important to talk. Through these four scenes, as well as different activations of a performative nature and an epilogue in the form of a publication that collects the different voices that go through the process, this curatorial journey seeks to create a polyphony that, like one of those paused conversations that are held in privacy, aspires to weave a network of empathy of which the visitor can feel part.


Fantastic Interior, which takes its title from a collection of stories by various authors compiled by the fiction writer Pilar Pedraza, invites us to think carefully about what happened and what happens inside, trying to understand the evolution of the grammar of intimacy after years of accelerated writing, with artists, with art, with performance and with time.


From January 27 to March 27: Furry Tales, by Ad Minoliti (Buenos Aires, Argentina, 1980).

Furry Tales is an immersive installation that subtly navigates through the symbolic strategies that the system uses to shape us and assign us an identity since we begin to exist within a binary system.

It is a first stop on this journey through the interior, returning to the beginning, to childhood, to that starting point that later brought everything else. The exhibition imagines a childhood that does not bifurcate in two directions, but carefully searches for its options, because, as the artist says "perhaps the time has come for children to stop being the future to be able to decide their present" .


From April 20 to June 19: Marina González Guerreiro (A Guarda, Spain, 1992).

Marina González Guerreiro's work focuses on the beauty of routine moments that are sometimes not given the attention they deserve. Washing, tidying, sweeping are small acts that become central in her work and claim a relationship with objects and with time that faces, without violence, the acceleration of the present.

Issues related to the emotional grammar linked to adolescence, the change of stage or the beginning of something new, coexist with the spatial or visual references characteristic of her work. The idea of ​​intermediate spaces that connect other spaces, such as a bridge or a window, are outlined as starting points for an exhibition in which she works from small scales to build a large installation.

From July 6 to October 2: Machine For Restoring Empathy, by Eva Kot'átková (Prague, Czech Republic 1982).

Machine For Restoring Empathy (temporary title) is a walkable installation that uses pieces of clothing communally sewn onto a large metal frame. The piece becomes an organism that houses and represents animals, people, plants and objects analyzing their relationships with each other. An example of Koťátková's participatory approach is the activation of this piece, which is carried out through sewing and storytelling workshops. In them, different groups of visitors share their experiences and tell stories while they carry out these tasks, giving rise to elements that shape the work itself. A meeting piece with others, empathy and listening, a space to 'put yourself in the place of the other', a human quality that on many occasions is only achieved in maturity.


From October 19, 2022 to January 8, 2023: Songs for Living, Songs for dying, by Korakrit Arunanondchai (Bangkok, Thailand 1986).

Songs for Living, Songs for Dying examines the healing abilities of shamans after the 1948 Jeju massacre in South Korea. Personal narratives centered around the recently deceased artist's grandfather and pop cultural references from The Hunger Games film trilogy are combined in the context of ongoing student protests in Thailand.

The way in which intimacy is manifested through the spiritual and the technological are constant themes in his practice: his installations question the ways in which Western culture is constructed, inviting the viewer to open up to new ways of narrating, more transversal, horizontal and inclusive.