Brigitte Aubignac’s exhibition "Museo Immaginario" stands as a firm declaration statement of intent that the museum is either imaginary or it is not, to the detriment of the traditional concept of the museum space, perhaps now outdated, which wants it to be a static entity.

The one proposed by the artist is a journey of knowledge between eras that are temporally distant but united by the same ancestral need for expression, which considers works of art to be on a par with people: paraphrasing the words of a well- known English anthropologist, Alfred Gell, they are the only objects to which is attributed an existence and capacity for interaction similar to that of subjects, in our western culture.

The exhibition presents around thirty works, including gouaches on paper and works on canvas, which showcase accumulations of sculptures from all styles and eras. In these apparent museum storerooms, are placed works of the most disparate kinds, shrouded in dark atmospheres and lit by dim window lights. One of these figures, in particular, seems to establish a dialogue with the viewer: the dancer by Degas, sometimes portrayed in an eccentric profile position, others from behind, seems to be inseparably connected to Aubignac, an alter ego that allows her to contemplate this miscellaneous surreal world, prompting her to question herself about art’s capacity to reinvent itself.

The inspiration for this pictorial cycle entitled Statues ect... blends the artist’s personal experiences, which seem to find fulfillment in this series. 

The memories become the interwoven threads of the canvases on which the author imprints her own personal vision of the world, made up of the multiplicity and richness of our cultures, which acts as an umbrella that shelters from the rain of images we are daily subjected to, acting as an obstacle to the visual bulimia. Aubignac’s point of view is a brake on waste that aims to retain what seems to be disappearing or getting lost in the great bazaar of the world.