Apart from being a modern phenomenon, the result of the growing mobility which characterises the capitalist world, the shrinking of distances can also be seen as an effect of metaphor. Spatial metaphors have frequently been used in Perejaume's work to bring geographical and cultural poles together. The book Ludwig Jujol and the works that emerged around it established unexpected links between the Bavaria of Ludwig II (1845-1886) and the Catalan Modernist architect Josep Maria Jujol (1879-1949). Thus Perejaume also broadened the principle of collage out of all proportion. In this case, Coll de Pal - Cim del Costabona is an installation originally shown at the Joan Prats Gallery in Barcelona in 1990. The large format photograph, which showed the ground floor plan of the gallery drawn on the summit of the mountain, was installed in the last room there, refurbished by the architect Josep Lluís Sert in 1976. The plan for the project, which corresponded to the present space of the gallery, was at the entrance. A second, much smaller photograph showed the artist's hands drawing Sert's plan on the summit in flour. That photograph could be seen through the window of the gallery. However, the emptiness of the gallery became the outstanding feature of the exhibition. It was a meaningful emptiness which suggested that the gallery had been transported to a remote place. The traditional direction -importing images- was changed and the gallery -the exhibition site- went out to meet the landscape. In spite of everything, the visitors would never reach that inhospitable rugged place on which the gallery had been inscribed. What the spectator walked round was no more than a sequence of rooms and white walls. Although brief, that distance covered with no objects to catch the eye highlighted the visitor's physical, corporeal experience, walking into and out of the gallery. The installation anticipated a series of activities such as excursions and transporting works of art that Perejaume carried out in the nineties. With those actions he questioned the exclusive concentration of art in workshops, galleries, collections and museums. At the same time, the routes traced by the journeys of works, paintings and drawings by artists such as Joan Miró, Francis Picabia, Ferdinand Hodler or Federico García Lorca ushered in a new way of writing on the territory. This is an orographic writing that adjusts precisely to the reliefs of the landscape.
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