HOY ÑOQUIS -installation-

The exhibition developed the last day of “HOY ÑOQUIS” at antipodes café DEG15 was based on an installation including a projection of a still image placed between the rest of an apron and three frames -made with that apron-. In addition, and outside the place was a poster.

As it was a 29th. gnocchi where prepared and shared with all visitors.


Steady image of a boat full of Italian emigrants going to South America, intervened with lines sensitive to the sound of the ambience.


The apron was a present we got in early June 2014, from the Organisation of San Sebastian as the European Capital of Culture in 2016. This merchandising gift was in black fabric and included logo of the event silk-screen printed with two inks in its front side.

It was always used with the reverse to the front, just for making gnocchi until October 29th, 2016, and never washed.

3 Frames

We replaced the white fabric of 3 ready for paint ca. A4 canvases with the black fabric from this mentioned apron as a memory of the 3 years making the gatherings “HOY ÑOQUIS”


Collage using 9 of 10 unique photocopies made in 2007 in Uruguay and a yellow paper printed with the text “HOY ÑOQUIS” cut in an irregular shape. Photocopies are 9 A4 enlargements of 1 enlargement photocopy of an illustration printed in the cover of the now defunct magazine “Deustchland” supported by the German Federal Foreign Office. The illustration -which reminds the girl from “M-Maybe” by Lichtenstein- is a halftone printed face of a caucasian woman with long hair -most likely blonde-, light colour eyes and one hand with a white glove in a position that suggest thinking.

One of the papers includes a photocopy of a Uruguayan coin, and another paper includes the paragraphs 49 and 50 -in Spanish- of The society of the spectacle by Guy Debord:

The spectacle is the flip side of money. It, too, is an abstract general equivalent of all commodities. But whereas money has dominated society as the representation of universal equivalence — the exchangeability of different goods whose uses remain uncomparable — the spectacle is the modern complement of money: a representation of the commodity world as a whole which serves as a general equivalent for what the entire society can be and can do. The spectacle is money one can only look at, because in it all use has already been exchanged for the totality of abstract representation. The spectacle is not just a servant of pseudo-use, it is already in itself a pseudo-use of life.

With the achievement of economic abundance, the concentrated result of social labor becomes visible, subjecting all reality to the appearances that are now that labor’s primary product. Capital is no longer the invisible center governing the production process; as it accumulates, it spreads to the ends of the earth in the form of tangible objects. The entire expanse of society is its portrait.”
G.E.D. [translated by Ken Knabb (source)]

Poster, apron and frames where exhibited in the show “antipodes café visits Elefante” in Brasilia, 2017.