The portable, inclined iron stand is a tower for the decay and launching of the guitar score: the slow waltz "Absence," composed in 1950 by Professor Maria Thereza Luizi. The music, projected onto an acrylic plate, shares the stage with a set of four pairs of drawings mounted on glass.
The drawings are repositories of constructive dreams and their updates. Architectural sketches made in 1969 stand on their own like easels. They are sculptural objects on the floor of the rectangular room. Pairs that harbor reflections, ruins, and scratches unfold in two ways: one as a fuel force that bears witness to colonial desire; the other as a kind of meteorite fallen from the collapsed tower.
