Spain

The exhibition takes as its point of departure an apparently simple act: to shift the Spanish Pavilion. Located in a corner of the Giardini, the building appears slightly skewed with respect to its neighbours Belgium and Holland. Ignasi Aballí’s proposal endeavours to resolve this dilemma by replicating the building with new internal walls at an angle of 10 degrees, the required amount to align the building with its neighbours. The intervention disrupts spatial memory and modifies the exhibition space, its location at the Venice Biennale’s venue, and its relationship with the city of Venice. Supposing that the current location was an anomaly, why correct a building that was previously approved? Why compare it with its neighbours? What changes does this correction imply? This is where the apparently simple conceit becomes much more complicated.