ANTI-after T.B. is the title of Sergio Prego’s installation designed and produced especially for the space of sala rekalde. The initials T.B. refer to the American choreographer Trisha Brown, who is to some extent the source of inspiration for part of the idea. In the 1970s, Brown produced a series of dances entitled Walking on the Wall, in which a group of dancers literally walked along the walls of a gallery in the Whitney Museum for American Art. A trivial action took place on the vertical plane and not on the floor. The suspended dancers challenged the laws of gravity and adopted a different model of action, movement and vision.

Prego’s installation picks up on the urge to incorporate another way of understanding the space, its use and its perception. The installation is a whole, a unit made up of various elements: a series of mobile walls, an iron track that runs around the entire perimeter of the exhibition room, a performance that took place before we entered the room, and a video that documents this action but at the same time turns it into something else.

Prego’s work examines the planes on which an artistic work operates, analysing the space in which it is to be exhibited, the representation of the space through the use of the moving image, the relationship between art and action, and the introduction of a different use of the exhibition room. These are all questions with roots that go back to the 1960s and 70s. ANTI-after T.B. is in creative keeping with a tradition that sees artistic practice not so much as the production of ‘visibility’, but more as a language, a way of making various working processes and the context in which they take place conscious. The final result draws, therefore, from the sources of architecture, contemporary dance, film and even electronic music.

It is possible that this kind of work may surprise the viewer due to the absence of an easily discernible visual dimension. The lack of artistic ‘objects’ or the difficulty in determining the medium present a certain obstacle at the outset. Nevertheless, the work and the viewer share the same concern, which is to discover the nature of the place the exhibition room that we both occupy. Everything is designed to enable us to imagine worlds that take as their starting point our ability to turn upside-down the usage of the spaces we occupy, or to put it another way, to consider our relationship with experimental ways of understanding our place in an exhibition room and hence the world.