Louis 21 presents in its outdoor space The Window, visible from the street Doctor Fourquet, a site-specific intervention by Irene de Andrés (Ibiza, 1986).
For the installation, the artist has used an image of the old window grille that protected the window, in order to create a light box. The photographic image of the original window grille, printed in polyester paper, transforms the image of the structure of protection into its on X-Ray. The function of the window grille and the window is revealed through a spectral negative that cancels the possibility of looking into the space. It is no longer a physical impossibility, as when the iron bars were there, but is our vision that is now interrupted. We cannot longer see its interior because the negative image of the window grille impedes it.
Our selective memory, atrophied by habit, prevents us from perceiving the small architectonic changes that occur in every city and that remain almost unnoticeable, even for the daily passers-by. We easily get used to the transfer of businesses and we forget what these spaces used to be in the past. The shop window intervened by Irene de Andrés presents the missing skeleton of an architectonic element in the façade, as some sort of bones or ribs, that used to protect what was once a military barrack, a hairdressing, a bar, another art gallery and was finally removed by Louis 21 with the aim of giving it a new use for artistic interventions.
This window grill also reminds us to the guides that were used in the past to represent ´reality´ more faithfully in a paper or canvas, the first ´projectors´ and perspective tools that were used to isolate a portion of the landscape and to rationalise the external world in order to represent it. This same reticulated frame is related with the camera obscura and, through photography, to the filed of cinema. In this case, the light box unveils a nonexistent landscape (pure light), behind an abstract model for representation. We see the window fragmented as if the reflection of the grille had been engraved the glass itself after so many years, as the survival of a shadow. In a way, this work by Irene de Andrés stresses, through an archaeological process, the ways in which a photosensitive material allows to reveal the forgotten past. Thanks to the fragments that persist and through successive associations, we gradually realise how the landscape extends itself, temporally and spatially, beyond the limits we can guess at first sight.