This piece works on the concept that a project is an exercise in continuing development. It progresses from an initial action: painting an invented speech on the floor of the hall, using a font typical of old typewriters, such as Courier new. The speech is made up of sentences extracted from real speeches made by Francisco Franco and Benito Mussolini. This hybridisation process gives rise to a new speech that is not specific to any particular time or historical context because it has mixed sources but reveals a great deal about the vacuousness of totalitarian discourses. Fusing totalitarian speeches, in this case those of two dictators with markedly right-wing ideas, is simply a poetic way of revealing the absurdity of a period in the past of two different countries: Spain and Italy. The number of parallel readings and similarities is obviously very high and the process of reviewing these speeches from an aesthetic, poetical viewpoint gives rise to serious ethical thought.

The artist comes from Spain and has lived Italy over the last year developing a body of work based precisely on these terms: totalitarianism and reminiscence of the fascist past. In this case he has focussed on reminiscence from the perspective of the Spanish Academy in Rome, where there are still things that recall the dictatorship.

The activity in the exhibition hall also reflects the absurdity of trying to making a permanent mark or imprint. In other words, working with the text on the floor of the museum expresses an idea about the discourse of power itself and its process of perpetuation in white space, which is a metaphor for the void or the non-place. The use of paint and the days spent carrying out the process accentuate this metaphor for the fragility, provisionality and vacuousness of the speech. Once it is finished, the exercise of rubbing it out or mopping it up every so often is one more symbolic gesture that reminds us that what has happened should not only be remembered; we should also know how to break with the past without forgetting it.

Videos
The project continues to develop using an installation consisting of two videos. In them, a girl sings Cara al sol and Faccetta nera (the anthems of the two regimes) without instrumental accompaniment. This interpretation maintains the melody and the time of both songs but highlights their lyrical aspects in such a way as to put in doubt their association with a military march. It is an attempt to interpret the songs almost as if they were arias from opera or lieder.
Since the two screens are placed opposite each other, the girl sings to herself and the two soundtracks mingle together. It is a piece that expresses thoughts about the absurdity of power, senseless activity, the in-breeding of totalitarianism and the close resemblance between one regime and another. The sweet voice of Noemí de Haro, contrasts with the political connotations of her two performances and provides a good example of how propaganda aims to awaken patriotic feelings and exalt them using simple but emotive lyrics directed towards the general public. The highly emotional content of the songs contrasts with the candidness of the young girl. Her angelic voice recreates the facile sentimentality of the original anthem but the new musical interpretation plays with the aspects of the score that could be the same for a soldier as for a soprano and adapts the notes to the high range of the girl's voice.