Simulacro could begin anywhere, but it chooses a roundabout. A circular space where everything spins without moving forward, without a starting point or fixed direction. A crossing where paths blur and time repeats itself. A suspended place.

In this space where linearity has dissolved, there is no single narrative to organize the chaos: only fragments, cuts, voids, superimpositions, disjointed images, and signs without cause or consequence. Even the body does not remain. It doesn’t act, it reacts. It doesn’t speak on behalf of anyone. Trace, echo, interference.

Inspired by the theory of Jean Baudrillard, Simulacro dives into a present saturated with signs and screens, where simulation not only replaces truth but erases any trace of an authentic referent—creating a meaning that is lost, fragile, and artificial.

In this fractured landscape, the piece abandons narrative structure and conventional representation to unfold a dance that is fragmented, dislocated, without beginning or end. Each gesture is a reaction; each image, a door to another interface.

In this way, the piece becomes a metaphor for a broader rupture: the fracture of the subject, of time, of the world. In a universe governed by invisible algorithms, where perception is filtered and real experience fades into an endless loop of echoes without origin or destination, the sensible becomes code and the visible, a bottomless illusion.

Simulacro embodies this infinite repetition, revealing the crisis of meaning and the disappearance of the real in the digital age. Where the only possibility of progress seems to be a return. A new beginning that appears as liberation, but is, once again, just another visual trick—another trompe-l'œil. A loop that sustains the illusion that something is changing, when in fact, everything is repeating.

​Text: Agnès López-Río