UNDISCIPLINED is a journey which cannot be understood from a sedentary position, while missing the comforts of everyday objects and things taken for granted.

The soul of a nomad is necessary, capable of packing, apart from the essentials, only that which can be carried throughout the whole journey.

UNDISCIPLINED is a journey along paths that help to identify the possible routes contemporary art is taking in our country.

THE ABANDONINGS
For this journey we will leave behind the great stories, and with them the grandoliquent and blinding illusions about art.

These creators shift the territory constantly and voluntarily. They have abandoned the romantic vision of the ‘writer as a hero', as the genius responsible for his creation, in favour of active participation in created objects. It is no longer possible to believe that only a few have been given the task of creating.

THE LUGGAGE
A visa to enter transversal zones is vital for this journey, as more often than not we will find ourselves being dragged from one state to another without our perceiving the frontiers. To embark on this journey is to penetrate the diffuse places of creative experimentation where the most diverse technologies co-habit with the hybridization of languages.

We will also need all the tools that can help us: a quickened spirit, a high level of curiosity and a willing heart, because it will not be enough to merely contemplate; we shall also have to act.

WHAT WE'LL SEE
We are going to visit provinces located on borders, that don't belong to anyone and have no history. As explorers of this new world, we will open the door to the latest technologies and we will witness a new materiality of the work, a new relationship between art and science, and a new realtionship between the artist and the observer. They are no longer objects of aesthetic contemplation but agitators of creation.

In this milieu, the fruitful and recent relationship between Art and Design is established, and art is publishable while design questions its link with production. Art flirting with the machine and design returning to the single piece. Validating thus its authorship, trying to inject into his work a marked ‘auratic' element.

The parallelisms and fields of mutual interest accumulate, languages come closer together, creating a common body so that new meanings and a framework for invention can emerge. Strategies converge.

THE ROUTE
This exhibition aims to present all works just as they are, without carving up their contents into conventional categories or putting them in an order defined by historicist parametres. To get our bearings and find ourselves on the route, we are offered a quadrant of five conceptual angles upon which the works are situated.

1. The codes
The works twist and betray languages, creating confusion in anyone who tries to decipher the impossible code, disturbing all sense of safety. Doubts are raised about the capacity of languages and codes to transmit knowledge, thoughts, values and beliefs.

Perhaps language is just a play of symbols, gestures and syntax, a set of legal rules, systematic and empty, that bravely try to regulate an impossible? Or perhaps languages have ceased to be ways of representing things and have begun to substitute them...

Works by: Naia del Castillo, Rafael G. Bianchi, Tete Álvarez, Juan Carlos Román, Suso Fandiño, Jaume Plensa.

2. The settings
Productions that reflect on alternative habitats, parallely to interior design but with none of their pressing functional needs. Impossible universes appear before our eyes like a crushing reality. A settings works as a great modifying gadget of perceptions or of the subject's relationship with his or her surroundings.

Works by: Ana Mir and Emili Padrós, Mónica Alonso, Sofía Jack, Martín Ruiz de Azúa, Vasava, Diego Santomé, Xoan Anleo.

3. The simulacrum
Appropriation, camouflage and recombination. Confused in the play of mirrors the media have drawn us into, we navigate in the surplus of reality. This territory is crossed with the world of publicity where objects have ceased to be consumed as a product or a sign and have come to exert a symbolic power (prestige, quality of life, comfort, happiness...). Our adoration of the masterpiece is parallel to our fetichistic adoration of merchandise.

"Simulacrum objects", in which the artist has a specific importance, appear in design, losing their link with their utility and becoming what they are not, treading and crossing spaces.

Works by: Ángeles Agrela, Mapi Rivera, Alicia Framis, Naia del Castillo, El Perro, Joan Morey, Cul de Sac, Maider López.

4. The surface
Pop brought about a profound reflection on the banal and the everyday, relocating this category. These works exist inside this new re-location.

That which was a synomym of perishable, fleeting and momentaneous-contemptible for an eternal art-has come to constitute it voluntarily, assuming thus the discussion between art and merchandise which, in turn, is an essential part of the discourse of modernity and mass culture. Trade marks, catchwords, logos, pictograms, typographies, fashion, videogames, publicity, film, design, videoclips are inserted into the works and condition them. They are works that question the usual systems of distribution and display.

Works by: Chus García-Fraile, José Antonio Hernández-Díez, Miguel Ángel Gaüeca, Ana Laura Aláez, Xoan Anleo, Suso Fandiño.

5. Innocence
Proposals of an apparently innocent discourse which, disguised, makes use of the double edge of innocence-perversity as the creative motor. Humour and laughter are incorporated as an essential element of the work. They are good-humoured, not cynical, pieces, that only use lies as construction material.
‘Utopian objects' appear whose function is implicit; the project goes beyond engineering, in the conviction that technology will make them work.

Works by: Núria Marqués, Héctor Serrano and Lola Llorca, Carles Congost, Bene Bergado, Martí Guixé.