False Flag

From a distance, False Flag’s photographs show us a series of buildings, the gray concrete urban blocks characteristic of overcrowding in big cities. A magnifying glass next to them invites us to get closer and discover that they are volumes of movable type organized, perhaps, to print a text, even though we are unable to […]

De las ruinas y letras-friso

If in False Flag the cities of letters were clearly separated from their surroundings, in De las ruinas y letras, these cities have been assimilated into the structure of the gallery, becoming matter and losing all linguistic meaning in their transformation. This piece alludes to the volume of texts that make up the secret archives, […]


Every secret intelligence operation needs a public space in which to confuse and thereby establish a narrative that prevails over the search for the truth. Gladio, the name of the most notorious secret operation known in Europe, presents the covers of magazines and front pages of newspapers, as examples of the functioning of this strategy […]

Dispositivo Foucault

Drawing on 22 sets of declassified documents from 1941 to 1993 from the archives of the CIA, the U.S. State Department, the intelligence services of Italy, Germany, France, and Belgium, as well as leaked NATO documents, this piece addresses the surveillance of French intellectuals during the 1980s, juxtaposing the printed documents with the words of […]

Stay Behind

Any secret operation must remain secret or, in the worst-case scenario, the truth surrounding it must be sufficiently confusing to be questionable. Stay Behind features a typographic stamp in which illegible phrases are formed, from which the name of a secret European army can be distinguished; however, if this stamp were used to make a […]

Utopías modernistas

The pieces that make up this series underline the secret and the lie from a trio of material operations. Utopia 1 presents the naked typeface of a mechanical typewriter attached through tensioned cables to two sets of papers whose surfaces have been subjected by the artist to the physical abuse-sanding and erasing characteristic, but amplified, […]

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