Aquí no hay nada que mirar. Irma Álvarez-Laviada. Museo de Bellas Artes de Asturias

From that point, and throughout the conceptual development of the work, Irma evolves with the possibility of transferring to the exhibition space the effect ― real perception ― of the link between the volumetric occupation of the art pieces and their container ― deposits ―. To this end, we seek to experience the overwhelming presence of the Museum’s neuralgic substance ― its raison d’être ― in the deposits of the essential organs that drive its internal circulation. We turn the immersive experience in the exhibition into a sensitive appreciation of its anonymous volume as a container of ART. The museum ‘entities’ are and stage its central core of existence, its heart ― a heart bigger than the box. They are part of what runs through its veins, of what organises the entire system that gives it life. The hidden places ― behind enigmatic gates ― are its natural habitat, outlining in IT the image that transmits the artistic legacy of the muses.

The elements involved in the inner life of the Museum develop relational structures embarked on the search for ‘being’ something different. When they are exported from their inner refuge and they finally appear contextualised in the different scenes that are recreated, they share circulation and spaces, not only with people who dwell them, but also with those who visit it. Thus, they change their status as their temporal location progresses, differentiating ― according to the stimuli received ― the proposal to be shown. They present the disrupted inside/outside reality by composing an enveloping, transverse argument, by playing in the mind of each person and establishing the guidelines for a different, extremely intimate chronicle.