Pep Agut
(Terrassa, 1961)- Les imatges són un teixit, 2016
- Dijous, 2016
- Universal measures (all the paintings in the world), 2016
- Artistes i pretendents, 2016
- Túnica de guerra d'Ulises, 2016
- Penélope al món de la propaganda, 2016
- La cicatriu, 2016
- Res, 2016
- Comptaré les hores, 2016
- N, S, E, W, 2016
- Miraré tots els punts de l'horitzó, 2016
- Cap imatge encara, 2016
- Memento Mori, 2014
- Naixement de la forma, 2014
- Artista al seu lloc de treball, 2014
- Memoria Personal, 2013
- Sinapsi, 2011
- Broca / Drill bit, 2011
- Dislocación / Dislocation, 2011
- Bipolar, 2011
- 'L'Iguana' i altres Regions / 'L'Iguana' and other Regions, 2008
- Hèrcules (Autoretrat en devaluació econòmica i plusvàlua cultural), 2007
- Hèrcules espectacularitzant-se, 2007
- Hércules Público / Public Hercules, 2007
- Hércules, 2007
- Partes de, 2006
- Figuras / Figures, 2005
- Callarme / Gritar (Keeping quiet / to shout), 2005
- No em diguis el teu nom, 2004
- Casas de Adán (La idea de Hablar), 2002
- Interview, 2000
- Res és igual a res, 2000
- Bridge/Ruin, 1998
- Il y a, 1997
- Habitaciones exactas, 1989
Dislocación / Dislocation, 2011
Drop ceiling of 1,80cm + double sound track, Ed. 3
PDF
This installation contains two elements: an intervention on the exhibition’s architectural space, and a sound track. The first element refers to the construction of a drop ceiling of 1,80cm (the artist’s height ). This ceiling covers almost the entire surface of the room, leaving only a margin of 15cm along the perimeter to allow light from the blocked upper space to filter downwards. The second element is a double sound track that plays, also from the upper space, a recording of the artist’s voice giving different commands, as well as the sound of his hands hitting the ceiling or the walls. By imposing the artist’s physical scale and voice onto the space, along with dislocating its interior—the upper space remains inaccessible—the installation radically alters the way in which we can inhabit this location, negating the regular references of the gaze and thus conditioning our physical movement and the relationship among those present.

View installation. Drop ceiling of 1,80cm (the artist’s height ). This ceiling covers almost the entire surface of the room, leaving only a margin of 15cm along the perimeter to allow light from the blocked upper space to filter downwards + a double sound track that plays, also from the upper space, a recording of the artist’s voice giving different commands, as well as the sound of his hands hitting the ceiling or the walls.

