The exhibition “MIRALDA THREE PROJECTS (NYC-MIA-BCN)” will showcase the projects “Bedspread Apocalypsis Lamb” (NYC), “The Last Ingredients” (MIA) and “Santa Eulalia. 175” (BCN). They include photography, drawings, audiovisual pieces, collages and other materials that will allow the viewer to get an idea of the scope and complexity of the projects that characterise the artist.

Starting November 21, the gallery will also exhibit  “Landlocked” (2015) at the mezzanina, a video by Miguel Ángel Rios. Bolivia has suffered since several centuries access block to the Pacific Ocean. The video “Landlocked” is a metaphor of desire. Dogs of the high mountains from the Andes foothills, were trained to dig and execute their work, creating an illusion to get to the Ocean.

Cultural ephemerid and urban phenomenon recognized worldwide, the German capital was and still is synonymous with change, with transmutation. LAB36 offers multiple and heterogeneous perspectives, in the same way the city does. Political, poetic, impossible and pondered visions converge. A group of Spanish artists invites us to walk around the city, from the divided Berlin to the current urban environment.

Cristal House is the name of a racing horse. In her new project Anna Malagrida (Barcelona, 1970) draws upon photography, text and video to carry out the attempted depletion of a place: a horse-race betting house located in the center of Paris. From the street and through the large windows, Malagrida shoots repetitive movements and the waiting of the gamblers.

Engravings in the genre of Inverso Mundus, known since the 16th century, depict such scenes as a pig gutting the butcher, a child punishing his teacher, a man carrying a donkey on his back, man and woman exchanging roles and dress, and a beggar in rags magnanimously bestowing alms on a rich man. These engravings contain demons, chimeras, fish flying through the sky and death itself, variously with a scythe or in the mask of a plague doctor. Mundus – the Latin ‘world’ and Inverso – is both an Italian ‘reverse, the opposite’ and the Old Italian ‘poetry’, which alludes to the art processing. In AES+F’s interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.