Courtyard

Guillermo Mora's work Hacia el blanco, 2013, lies halfway between sculpture and installation, given that, while maintaining a circular pattern, it can adopt infinite arrangements. This is a unique chromatic circle of wooden slats that, if it could rotate, would turn to white (the colour of light containing all the colours).

This space sees us going from the chromatic spectrum to the colour of the material itself: steel, marble, alabaster, plaster... the subject matter is bare, so as not to compete with the line, with the volume, with the void, with the object. The sculpture by Baltasar Lobo Courselles, 1964, features glimpse of references to the human figure at rest. In turn, Mendi huts II, 1990, belongs to the series of sculptures produced by Eduardo Chillida based on the utopian Tindaya mountain project in Fuerteventura. It provides a perfect illustration of the struggle of human reason in planning Nature, through the contrast between the solid and organic form of the stone and the orthogonal cuts of the empty space provided by the artist.

The 2020 work Sin título, by Mercedes Pimiento, is part of the exhibition project “like a monument to collapse” and is directly related to La Cartuja Monastery (Seville), where it was exhibited for the first time. The sections of plaster cast and earthenware casting of the classic marble chapiter, laid out on a metal storage shelf, refer to documentation areas and museum archives, and, beyond that, to the history that always survives in ruins.