At the back of a dark space in what were once the cold storage rooms of the old Madrid slaughterhouse, or matadero, seven glass doors opened onto a corridor leading to a dark chamber. Here, looped on screens arranged like placards, were the episodes of Jordi Colomer’s Prohibido Cantar/No Singing (Obra didáctica sobre la fundación de una ciudad paradisíacal) (Prohibido Cantar/No Singing [Didactic Work on the Foundation of a Paradise City]), 2012, which together construct a fragmented narrative of the rise and fall of Eurofarlete, a fictional urban paradise, which can be read forward to the end

“Ensayo sobre la ruina” (Essay on the Ruin) is the title that encompasses a number of proposals created by Luis Úrculo to address a simple problem, one that is unfortunately more timely than it may seem: the relationship between a ruin and the order that precedes it. Though the foundations of Úrculo’s thinking are in architecture—indeed, he has a degree in that field and it continues to visually and conceptually bind together his multiple endeavors—he makes use of all possible visual media (drawing, photography, video, sculpture, and more) in his work. For example, the drawings Colapso