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Not in situ brings together works that explore the concept of space from different perspectives. The starting point for the selection of the artists presented here was Hangar, a Barcelona based center dedicated to art research and production that offers residencies and studios for artists. From the very name of the center - hangar: a large and open place where predominates the feeling of space - derives the concept of space, widely understood, used for the selection of the works.

The exhibition shows different ways of working the space, since its physical aspects and perception until other spaces such as mental, narrative or sensorial.

The works by Vicens Casassas and Weareqq (Vicente Vázques and Usue Arrieta) are specific projects that affect the transformation of a given space, proposing a new reading of its history and intervening on it, displaying elements that were part of this space through other configuration or building new structures related to the architectural and historic aspects of that place.

Guillaume La Brie also works affecting the structure of a space, but the exhibition space in particular, literally detaching parts of it to build his work, in a way that the walls and furniture of the room give the positive shapes of his objects, but not disregarding what remain negative, incorporating all that as the outcome of the installation.

To use the possibilities of the exhibition space is also a strategy adopted by Mariana Zamarbide, who plays with Hangar space itself - located in a building with two floors, where on the first floor are the artists' studios and downstairs a hall used in some cases for exhibitions - and creates a kind of space-optical illusion with her intervention.

Gustavo Ferro does not change physically the exhibition space as La Brie, but transforms it, becoming a container of the cardboard that the artist was picking through the streets and deposited in the space, changing its perception and use. The change in the perception of the space, according to the elements that the artist chooses to place on it, is clearly noticed in Alfredo Costa Monteiro's work, in which the environment is gradually filled with fog, when someone switches on the installation, and accompanied by a evocative sound (recordings of geysers in Atacama desert), changing the space perception.

It is clear that direct intervention in spaces changes their perception, especially because it brings up other aspects of them, either sensorial, as in the case of Costa Monteiro, or purely visual, as in the works by Irene Van de Mheen and Juan López. Using simple adhesive tapes, both artists provoke illusory games of shapes and spaces to the viewers, proposing a completely different reading of that usually associated with these intervened places or objects. Rémi Bragrad also uses a simple element in his work, arranges laser levels in a certain way that together build a static spatial image.

Javier Arce combines spatiality with concepts such as mobility, location, specificity and economy of an artwork and proposes a self-sufficient object as a work (installation) and means of transport. The mobility of the work and its insertion in other spaces, in this case, do not change the work. However, Liz Kueneke's project takes advantage of this mobile nature that some works can assume to incorporate different contents, wherever she takes her work. Another spatial aspect that her work takes into account is the mental awareness that participants have about the territory, which is reflected in the maps as an emotional cartography.

Pauline Fondevila works the space through a two-dimensional resource, the drawing, by which achieves to display a series of actions and stories that blur the boundaries of the paper and create a wide space to the narrative. The drawing is also the means by which Jorge Satorre proposes to compare a dolmen, a construction that protects an inner space, with the story of 64 fragments of an unknown place by the artist. In the works of these two artists, drawing, besides its physical exhibition form, is used to think about or to point at an outer space, invented or imagined.

The loss of a unique sense of space, or at least linked to a linear time sequence, causes a de-spatialization that used by the narrative serves to give meaning to a series of different images and to tell a story, as does Alex Reynolds in her video. Instead, Tamara Kuselman brings fiction into real space, reconstructing a scene from a movie as a performance. The space of the action is doubly considered, due to the superposition of the spaces of interpretation.

The space as a medium or stage for the development of an action is also present in the installation by Virginia Colwell, who set a situation in which the public is put into a story, assuming both the role of a witness and as an actor who reveals the contents of a story as he moves through the space (and triggers audio sensors in the installation). To walk around the space and grasp the different elements of an installation is what Daniel Jacoby proposes as well, but influencing actively the viewer perception by the audio that comes with the installation.

The sound stimulation changes our perception of space and Miguel Soler plays with this fact. He provokes a confrontation between an image (a set of objects) and their meaning showing seemingly innocent helmets cheered up by a lullaby made from fragments of bugle military hymns, filling the space with some false tenderness and being intentionally ambiguous. Nevertheless, in Ainara Elgoibar's work what remains is a structure (a modified electric metronome) that captures radio waves, therefore the sound changes depending on the space where the work is, making visible an imperceptible reality.

Most of the works here presented surely need to be enjoyed in its specific context (in situ), and hence the denial added to the title of the exhibition, which reminds us of our position regarding them, as viewers. Yet, despite this contradiction, I believed to be interesting gather them and promote their access in this format of exhibition. I would like to thank all the artists for participating and sharing their works in this context.

Pedro Torres.