“Meta Cero” (Meta Zero) is a piece of work which subject dealt with the idea of the so called meta theatre. It is a piece about daily life circumstances-occurrences that participate in a certain predicting sense or certain programmed vision of events.
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By means of a metaphorical transformation, the gallery room turned into a translucent case, covered up with texts allusive to such circumstances-occurrences. To this end, the texts in the walls were written backwards, making it possible to be read from the outside, as if in a self-observation or self-consciousness act.
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Among the quotations included in the texts, there were a number of notes taken from a “Diplomatic Compendium”, sort of a behavior manual explaining in detail the guidelines which a diplomat should fulfill while exercising its professional activity. This manual is full of pre-established phrases and gestures which a diplomat should learn and use at the proper time, the same way an actor should do at stage. For instance, the diplomat “will frequently carry out social activities thus keeping in touch with the most significant elements of the country. A low ranking diplomat may, at any time, approach a higher ranking colleague, informing about his post and, in this way, initiating personal contact, etc.”
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Another reference brought to this context is an autobiography written by a revolutionary fighter in Cuba (from the nineteen fifties). Her real name was Tamara Bunker, but she was popularly known as “Tania la Guerrillera” (Tania, the partisan). In her book Tania tells her experience as a clandestine fighter incarnating a false identity. She says: “When I walk among the people with my new identity making them believe that I am just one of them, my hidden I watches and jots down everything as if I were a journalist with an invisible cloak”.
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The exhibition also it includes certain passages of those endless series of popular psychology books which illustrates how the individual (following a group of conduct recipes) can achieve the goals enunciated in their titles, such as: “How to Achieve Superiority Among the Others”, “The Power of Will”, “The Rules of Success”.
Other texts on the walls read:

Part of the performance was also related with the meta-theatrical subject (fictionalization of the “true/real” experience). The “actor” represented the mythical figure of the Golem (homunculus who owes its existence to a magical inscription; automaton capable to carry out only elemental tasks). As in ceremonial pomp of an initiating nature, Golem's being was transmitted to some of the persons in the audience. The action was addressed by a recorded voice which ordered actor-Golem what to do. Hypothetically, these already initiated persons would incorporate to its vital experience Golem's entity, allowing them to see their own reality from this fictional perspective.
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