The main installation took advantage of the settings which I've always found very curious. There were three walls made out of panes of glass that run from floor to ceiling, an issue that not only gave that space its name, the Glass Gallery, but also a certain look of vitrine, of display. It was also high, and overlooking across the border with Mexico into de colonias of Ciudad Juarez. From there one could enjoy, almost everyday, a full blown sunset. Can you see? It displayed a concrete panoramic, a Benthamian privilege.
It just happened that the only opaque wall that opposed the otherwise transparent scheme of the gallery was placed in front of the door. I could, therefore, organize the viewing accordingly. The installation was titled MATER POLITICA. This was highlighted on that wall which, painted entirely in black, displayed the title of the show in monumental dimension. I rigged, as well, an industrial fan that blew a huge mass of air toward the door, and prevented a confident entrance into the space. In front of the fan, and blowing with more vigor, there was, most importantly, a white fur flag with eight nipples on each of its sides.
As you know, Gilles Deleuze, was very fond of analyzing territorialization practices. He believed that territorial animals are amazing because to constitute a territory has always been very close to the beginning of all art. One image accompanied my thoughts, then, all the time, the etruscan Capitoline she-wolf that reared Romulus and Remus, that became the symbol of the establishment of the Roman Empire, and a model of our modern concept of State.