Index begins on the inside of the museum, travels through the garden, and ends with a final piece that can be seen from the exterior of the institution. The exhibition presents a repertoire of artists whose work is discursively related. They all share a balanced line between the post-conceptual and the material, in addition to using very specific platforms to communicate the concept that supports their work. The selected artists are mostly part of the same generation, with the exception of Brian Eno, who has somehow always existed in, at least, the periphery of their collective consciousness: Stefan Brüggemann, Mario García Torres, Ryan Gardner, Linnea Goransson, Gonzalo Lebrija and Gerold Miller.

The selected works are mostly new, and were created for this particular exhibition at MARCO, and with the exception of Eno's light work that begins the exhibit inside the museum, the rest are all made for the exterior. The exhibition is conceptually based on the notions of “entering / exiting” and the transition from a physical and virtual context. These ideas can be relevant in the current framework, given the situation and dynamics we are facing, and can lead us to questions such as: What is better for my survival? Go out? Get in? Connect? Disconnect?

In this sense, Stefan Brüggemann, through his neon work, 'ONLINE : DISCONNECTED' , invites us to reflect on our existence and constant displacement and consumption. The use of text is shared with Linnea Gorransson, in the graffiti piece 'All The Tides in the Ocean', and whose work transports the reader to a parallel reality through short poetic statements that question geography, physical and emotional context, perception and the passing of time. On the other hand, Brian Eno's 'Sing Tree', develops a unique sound piece based on his Generative Music model, in which notes are 'fed' into a system that arbitrarily and randomly composes the work, which is endless in its possible configuration. Gonzalo Lebrija takes the site as a reference to locate 'Cubo Torcido', a sculpture that incorporates a physical reality and represents a transformation of time and space; his work will correspond with Ryan Gander's on the limits and expiration of time and the consciousness of mortality in 'Our Time Is Limited'; a tombstone and incomplete epitaph laid among the garden's rocks.

For his part, Mario García Torres, with a glass work, 'A Veces Es Posible Ver Atraves de las Intensiones' (sic) which references Alighiero Boetti, suggests a series of temporal correlations that function as a poetic axis, connecting isolated moments mixing past, present, and future. Like Boetti's techniques, which combined timeline dimensions and chronologies, this work is a representation of the interweaving of realities. Gerold Miller, participates with a work entitled 'Verstärker', which works as a marker whose intention is to subtly indicate “this must be the place”. The issues of connectivity associated with the exhibition are illustrated by Ryan Gander's 'The Artist's Second Phone', a street billboard-type work in which the artist's cell phone number is hand painted, and provides visitors a direct way for reaching him overseas, raising both questions as well as possible answers regarding the proximity, as well as remoteness, that immediate digital correspondence provides us. Finally, Stefan Bruggemann's text work '(THIS IS NOT SUPPOSED TO BE HERE)', which can be seen from the outside of the museum, from a distance, detonates a discourse regarding placement, content, and sense of being.

Index goes beyond the white cube and generates a connection with the exterior of the museum as a formal exhibition platform.

Eduardo Lopez