One of the most important lines of research in Montserrat Soto's work is the reflection on art through the spaces where it is displayed and housed. In 1997 - in Silences - the artist focuses her attention on the storage facilities of artworks in various museums, the places where art is not seen, where art rests. Subsequently, Soto undertakes the Secret Landscape project for five years, a series of photographs that captures the interiors of a collection of contemporary art collectors' homes in America and Europe. Art now becomes exclusive, accessible only to the owners and their guests in privacy. In the halls of MACA we can contemplate 13 of these photographs, belonging to the Telefónica Collection.
To carry out her project, the artist managed to slip into these homes; private spaces, inaccessible yet everyday, and far removed from the sacralization that surrounds artworks in museums. Bedrooms, living rooms, dining rooms, offices and even bathrooms are the containers of artistic works, many of them by highly sought-after authors, whose primary objective is to decorate these spaces. However, she transforms the private into the public and opens the door to an endless array of conceptual, symbolic and even psychological aspects, related to collecting.
Painting, sculpture, photography, ethnographic objects or decorative arts populate this series of photographs of anonymous residences awaiting to provoke in the spectator, who observes surprised and even astonished, all kinds of sensations and questions: For whom is such a quantity of objects gathered? What is the objective of owning a collection? What determines the selection of purchases? Does a collector always have good taste…?
Art as self-reference from its most unknown backstage for the common of mortals becomes a symbolic radiograph of the values of contemporary society. And it builds memory that, sometimes, belongs to everyone.