At the core of OLIVER AÑÓN's project for the Espazo Anexo is a fictional structure, a filmic composition based on the work of an unrelated and non-existent collectivity. Said structure consists of a video piece made of the collaborative work of seven supposedly real creators. As an extra, the project also includes four video cuts as well as drawings and texts documenting the spaces and places where each collaborating creator has worked in the film.

Built at the centre of the Espazo Anexo is a small projection room showing in loop the entire film, which is made up of the fragments of its authors - i.e., the artist, engaged in an exercise of simulation and reconstruction. Around this room, and still within the exhibition space, four screens reproduce video cuts as documentation of four of the authors of the group film: Tréroigne de Lacombe, Rodrigo Rodríguez, Jorge Amaru & Soledad Garibaldi, and Virginia Castellanos & Joséphine de Méricourt. Next to these are two tables displaying drawings with segments of images corresponding to the studies and places of work of the other three authors: Raúl Esteche, Manuel Aveño and Anita Otto-Peters.

Rather than serve as a generic distinction between realism and fiction, or as a definition of the documentary as a true recording of ‘the real' as opposed to the fantasy of the imagination, here the video picture is shaped by mixed possibilities a technology affords, by an apparatus that constructs (rather than captures) the image. Beside the image that is seen, the reflection; beside the eye surprised by the spectacle, an exercise in recomposing the image. Oliver Añón explores the experience of imitation-based recognition - hence the reference to the parrot in the project's title - which he does by understanding mimesis not only as a visual problem but also as an ideological problem.