The Drawings Office is pleased to present the installation of Daniel Muñoz Turquoise Madness, a site-specific especially designed for the gallery, where the exhibition space is reconfigured by recovering a set of disused architectural elements from the old automobile repair shop that occupied this same ground floor on Literato Azorín street years ago., number 33. Daniel thus consolidates his willingness to work with the pre-existing. Through this gesture, the artist questions the materials that constitute us and our abilities to build with the forgotten, the residual or the insignificant. From this apparent lack of signs a new body emerges, dense and experiential, that imposes itself in space as an unlikely presence, inappropriate for the place, although closely linked to him. A body composed of eight independent pieces that, by own decision, is autogrouped.
The structure that apparently delimits and separates these elements is also the support system that unifies and sustains them., that makes them position themselves and expose themselves, like a kind of screen, whose etymology comes from the Japanese word Byōbu (Byō: "protection" + this: "wind"); a term also used in the computer world to designate multiplexing, technique that combines two or more communications simultaneously using a single transmission device. These eight architectural pieces, until now subordinate and accessory, they become unhinged by breaking their silence and making public their experiences and traumas, appetites and obsessions, until now predetermined by their nature. Through their testimonies they challenge their roles and show the capacities that bodies possess to reformulate and emancipate themselves from inertia and destiny.. The project is articulated as a double exhibition that is also indivisible. On the one hand, We see a set of drawings accompanied by eight testimonies narrated by the pen of the writer Millanes Rivas, who brings a rich literary dimension to the project. On the other, the work takes the form of a semiotic dance: a gigantic eight-meter panel composed of a corpus of signs drawn using postures, movements, transformations and escapes carried out by these insurrectionary pieces. Its eight voices multiply, generating a new horizon of constructive-discursive possibilities.
Turquoise Madness es, therefore, a reflection on the liminality between individualities and the collective body; about desertions and assignments. A mechanism that suggests that, where there is bilaterality, there may be no dichotomy between experience and project.
