Pure cinema, worked according to the canons of the genre: Storyboard, stage construction, illuminators, cameramen and actresses have allowed to give life to a singular story: a fight between life and art, a real dispute between the visions that have somehow determined the evolution of art since modernity.

Geometry and reason, equilibrium, neatness, calculation and normative abstraction versus chaotic expressiveness, symbolism, alienation and imagined figuration.

In Archimétrica the cinema overflows the limits of the screen. The place where it has been shot is the place where it must be seen. The stage of creation is the space of its visualization, the environment grows and multiplies with the objects and elements that have been handled in the filming. It is not a passive place, but rather the territory for a feedback performance in which the spectator is the main, and indispensable, agent of the exhibition. As in any synaesthetic project, the different genres are intermingled and overflow until they lose their limits, thus feeding the forceful metalanguage with which Serzo invites us to a journey through art, its history, its contradictions, its political and philosophical references from play, provocation and self-reference.

The place where it has been filmed is the place where it has to be seen.

The stage of creation is the space of its visualization, the environment grows and multiplies with the objects and elements that have been handled in the filming.

It is not a passive place, but rather the territory for a feedback performance in which the spectator is the main, and indispensable, agent of the exhibition.

As in any synaesthetic project, the different genres intermingle and overflow until they lose their limits, thus feeding the forceful metalanguage with which Serzo invites us to a journey through art, its history, its contradictions, its political and philosophical references from play, provocation and self-reference.

Javier del Campo