Carme Nogueira (Vigo, 1970) successfully represents conceptual work focussing on the gender debate and reflecting on habitable space. She has recently taken part in important artistic events such as an individual exhibition of the series Refugios in the Sala Nil at the METRÓNOM, Barcelona. This was the result of an urban experience in December 2005 and collective exhibitions at the CGAC (Contemporary Art Centre of Galicia) in April 2005, Emporios invisibles at the Fundación Granell in January 2006 and Urbanitas, which opened at the Museum of Contemporary Art (MARCO) in Vigo in February 2006.

Santiago Cirugeda (Seville, 1971) is an architect and cultural activist from Seville who works on projects which are quite removed from the premises of conventional urban planning. His projects, or “urban prescriptions”, have included systematically occupying public spaces with dumpsters and adding prostheses on to facades, playgrounds, courtyards and even on sites. He has recently developed quite singular projects like that in the Poble Sec neighbourhood in Barcelona, Institutional Prostheses at the Contemporary Art Museum (EACC) in Castellón, and the lecture hall building at the Fine Arts Faculty in Malaga among others.

The work of these two artists will be exhibited at Galería adhoc in five different ways, from the creative subjectivity of a narration about a residential area, that Carme Nogueira treats in audiovisual format, to the imaginary of young people who become designers of domestic environments which can be improved, without any propositional limits, contrasting with the views of real users, who give eye witness accounts of a dwelling solution imposed by the state faced with the ever-existing needs of many people for local authority housing. This interlocution, at times educational and at times merely expectative, that Nogueira proposes with dwellers and future dwellers (reality and wish), is inevitably affected by her personal view of a constructed social and spatial environment. In Santiago Cirugeda’s work, the interpretation of desire, which becomes a right and the way to demand that this be achieved can be narrated in two ways. Firstly, using unknown voices but with names of real people who in recent years have gone to Cirugeda with their requests and demands for a decent dwelling and environment by means of critical, doubtful or even hopeful e-mails, which become a gallery of unique literary works. His own personal proposal, in this case, is not that of an artist, but rather as an architect who writes complaints which are official and make reference to different private and public statutes. If anyone in the public would like to become the owner and accomplice (anonymously) of one of these complaints, the act of acquiring them would trigger the whole court proceedings.