As is well known, the curatorial team chosen to organize the next Documenta (fifteen, 2022), is the group of artists, curators, cultural managers and social promoters ruangrupa (with lower case letters and everything together; it means in Indonesian “space [ruang] for the arte [rupa]”), a group based in Jakarta (Indonesia).

The 2019-2020 season has been marked by the emergence of the COVID-19 pandemic. Since the state of alarm was declared on March 14 and the confinement was ordered, nothing has been the same.

During the documentation process for the preparation of this text "Art and disease", which accompanies the online exhibition "Coronavirus, fear and courage", as a curatorial text that accounts for its theoretical framework, the first interesting reference localized in the network was a work by Hugo A. Sotomayor Tribín: "Diseases in Colombian pre-Hispanic art" (1991).

According to history, Leonardo left Milan after losing the favor of the Medicis, and, having been welcomed by King Francisco I of France, crossed the continent going through dangers, circumventing the highwaymen (with his personal and non-transferable pass: The Mona Lisa, painted on a board with pigmented oils ―most of her colleagues continued to paint in tempera or fresco―)

Joan Gómez Alemany, who is 29 years old, comes from an initial training in music, which later has moved towards the visual arts, searching hard for transdisciplinarity. He moves with ease in a wide range of ocher, and his music/sound art seeks, as he says, to be at the same level as the images, in that sense, nor does it seek to make it go unnoticed, non-existent, according to the modern ideal, nor give it an autonomous role, but using its words, it is: "a work that wants to see the sounds, in the same way that the images are heard".

Does the artistic object show an image or trigger an image inside us? In the case of Beatriz Millón's work "The spoil illuminates our cities" it is difficult to distinguish, because it is pure light, electric, dazzling. The flashes of the lights are mixed with the images that glare activates.

With the name Reinventing the representation: Dutch interwar art, 28 works from the Kunstmuseum Den Haag, the Netherlands, are exhibited in the IVAM Valencia, in addition to some more belonging to the IVAM collections, also from that historical period (George Grosz, Max Beckmann and Otto Dix). Of the 28 works coming from The Hague, 11 of them are by Charley Toorop.

"Silence" by Norberto Llopis. A program in collaboration with Miguel Angel Baixauli and La Posta Foundation within the Variations on the plane cycle of the IVAM Produce programming line.

Are there hierarchies between the images? We think that they are determined by the organizational models applied to their thinking, creation and dissemination. At La Posta Foundation we follow an organizational model that dilutes the differences between inside and outside the organization. As stated in the letter of presentation of La Posta ―on this website―: " La Posta Foundation is a nonprofit organization that bases its strength in establishment relationships with partners who work for their own benefit sharing common goals". This indifferentiation between inside and outside of the organization is reinforced by the fact that, in the development of concrete projects, the differences between thinkers, creators and diffusers of the images and the audience to which they would be directed are diluted, because the latter actively participates in the whole process; an audience that often did not exist prior to the start of the project, but rather it is an audience that emerges with the development of the same and participates in the thought, creation and dissemination of the images. What we call the public to come.

«Techno-Baroque Protest» is not just an exhibition of archives of the first sex-dissident revolts of Chile (1973), Spain (1977) and the USA (1969).