Cadáver Exquisito, performed in 2020 at Espacio Cruce (Madrid), is a museographic action where decomposition becomes structure. Drawing from the surrealist tradition, but departing from its playfulness, the piece reimagines collective composition as a form of ethical dismantling. Each participant assumes a role—one throws, another dissects, one narrates, one carries, one prepares—producing a shared anatomy of parts, gestures, and proximities. The resulting form, assembled without total knowledge, evokes the corporeal, the architectural, and the ritualistic—but refuses coherence. What binds it is not intention, but tangency. The corpse is not monstrous, but ordinary—a placeholder for the ways we touch, fragment, and co-produce knowledge through partial presence. Cadáver Exquisito is not a performance to watch, but a score for misalignment, where dissolution is embraced as methodology. The museum becomes a morgue, a theater, and a workshop, but also a commons—where things fall apart without loss, and being-in-fragments becomes a mode of repair.
