The Techno-Forum Hall shall host the exhibition in the Science Park, a two-storey space which houses the artist’s works recreated in an Escher-like ambiance. The exhibition in this hall is divided into seven sections, which afford an overview of his creation. The design does not follow a chronological order or intend to classify his work, but rather obeys seven possible visions of the artist’s production, almost all of which are related to science, architecture and the representation of landscapes, the subject matter which comprises the world of Escher.
The various sections in the Techno-Forum Hall are designed in such a way that plays with “Escher geometries”. A series of totems and mirrors on the walls transform the viewer’s relationship with the exhibited work, distorting the perspective of the room that changes depending on the viewer’s position. A large mobile of fish and birds suspended from the ceiling adds dynamism to the space with the movement of figures and their shadows. Adjacent is a large-scale projection on the wall of the hall, which breathes life into some of the artist’s most representative works, with comments and reflections made by Escher himself. A series of educational activities with workshops which relate Escher’s work to science round off the exhibition.
The Alhambra exhibition is being hosted in the octagonal chapel of the Palace of Charles V, a point of intersection between the colossal stone structures of the Renaissance palace and the tiled walls of the Nasrid Palaces. In this meeting of architectures, characteristic of Escher-like geometries, shown is the work influenced by the decoration of the Nasrid Palaces to which Escher travelled for the last time seventy-five years ago in pursuit of references and inspiration.
This space features a limited selection of the seven exhibition sections and reconstructs the tale of Escher’s two visits to the Alhambra, outlining the artist’s discoveries in the red fortress. The historic references of these two journeys are brought together in a documentary, which features photographs and drawings and the reproduction of two works he executed in Andalusia: a majolica design from the Alhambra and the Mosque of Córdoba.
The exhibition is designed as if it were a studio installation, more reminiscent of the artist’s studio than an exhibition hall. The works are displayed on the exposed stone walls and two windows, now hidden, built by the architect Pedro Machuca as testimony to the meeting of these two worlds and which the exhibition seeks to open once again to the viewer.
One of the windows allows the view to be recovered of the connecting space between the circular courtyard of the Renaissance palace and the rectangular Islamic Patio of the Myrtles. Two different, opposing worlds, impossible to imagine side by side, East and West, brought together thanks to the determination of Emperor Charles V by means of a “staircase of time” which, like Escher’s endless staircase, connects landscapes that are only possible in our imagination. The other window, located where the two palaces stand face to face, is an optical illusion of concatenated spaces, between the stereotomy of the Renaissance stone and the lattice windows of the Patio of the Myrtles. This window allows visitors to behold the magical and unused space of the encounter between two palaces, a space that only acts to articulate the connection between these two worlds, like the work of Escher, a permanent crossroads between the real and dream worlds.
In the chapel’s octagonal space, a recreation of Escher’s work by means of virtual images featuring animal figures broadens the Islamic vision of the division of the plane, something to which Escher aspired throughout his entire oeuvre and which he did not find in the decorations of the Alhambra.