There is a duck with hooves that welcomes in La Casa Encendida. It is plugged into a Walkman and a cassette of Juan Palacios’ Tanguillo del golpe. Next to him, a child watches him from a wheelbarrow and a tapestry where people smoke. There is also a banner that reminds us that the water is running out and a diorama of mobiles that function as a score. They are by Simón Sepúlveda (Chile, 1989), an artist whose aesthetic resolution always goes hand in hand with humor. The same as María Alcalde (Huelva, 1992). In his video installation, several young people show off their bracelets while someone tells about types of meat: loin, sirloin, feather… Soon the heteropratiarchy seems like minced and overcooked meat. It has a lot to do with the forms of Helena Vinent (Barcelona, 1988) in the next room, and that idea of everything that oozes in listening, even hearing aids. A sound that reverberates in Claudia Claremi’s film (Madrid, 1986): The Three Wise Men’s Parade of Alcoy, with a strong orientalist and blackface aesthetic.
