Francesc Torres, a Catalan versatile artist, wants to transform a part of the museum in an entropic box emphasizing its preserving function. Promoting works mostly of the nineteenth and twentieth centuries selected from the museum’s own collection, Torres explores the collision between history and culture reflecting, at the same time, on the museum’s nature.

Even though Torres didn’t make any of the pieces himself, he has pick them as a curator and, at the same time, he’ll use them as objets trouvés, meaning as a raw material for the realization of a multimedia installation.

The structure of the project will spread out as a landscape build based on fragments – some literals and other analogs – that will show the constant struggle to preserve against the results of all kinds of destruction: the passing of time, natural phenomena, wars, religious and antireligious intolerance, ethnic or politic, radical development plans or economic violence.

This project has emerged as a consequence of Torres’ original works about the same subjects: Accident (1977); The Assyrian Paradigm (1980); Belchite South Bronx (1987); Plus Ultra (1988); Destiny, Entropy and Junk (1990); i Memory Remains (2011).

None of these works will be displayed in the exhibit, though, because Torres has decided no to “adulterate it” but they will be documented in the book that will accompany it in a differentiated chapter.