In the Cádiz dunes, Hidden Forces unfolds as a site-specific subtraction, a formal act of quiet resistance against the saturated textures of human presence, where coastal bunkers tagged with chaotic graffiti are overwritten with black geometric blocks, not as decoration but as void-structures—rigorous interruptions that absorb both light and noise; the project enacts a minimalist censorship, replacing the ego-driven gesture of tagging with a silent Suprematist logic, echoing Malevich’s pursuit of pure feeling but re-situated into a non-idealized, eroding terrain, where sand, wind and salt air are collaborators rather than context; the rectangles function as conceptual filters, reducing visual overload while opening space for material dialogue with the Atlantic's shifting ecology; the ruins—once inert witnesses of failed urbanism—become activated by this erasure, their architectural weight now re-inscribed with processual fragility, invoking Smithson’s entropic thinking and Jane Bennett’s distributed agency, where environmental systems reclaim and deform human marks; as the black pigment fades, is buried, or fractured, the work mutates into media, captured in a looped video that drifts across platforms as archival residue, allowing the piece to reappear elsewhere as a spectral trace; Hidden Forces thus establishes a template for ephemeral interventions that reframe the artist’s role—not as a builder of monuments but as a strategist of disappearance, someone who makes space for un-making in environments saturated with visual and historical noise; this is not preservation but revelatory concealment, a refusal to add more clutter, choosing instead to vanish with intent, leaving only sharpened attention in place of form (Lloveras 2026).
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