In the new edition of the PROYECTOR Festival, we propose a tour of the shop windows of SEARA and NUA, which transform their large windows into an observation capsule: an intermediate space between the institutional interior and the public street, which functions as a metaphor for the visible and invisible control mechanisms that govern our lives.

In No More Heroes, Avelino Sala literally dismantles the figure of the classic hero, leaving only his absence carved in negative: empty boots, disembodied mounts. This image, simultaneously ironic and tragic, challenges the historical glorification of male and military leaders and reminds us that many of its monuments are built on forced silences.

KAYA & BLANK, in Intermodal, shifts the gaze to an industrial and global scale. The video captures the massive choreography of ships and cranes that sustain the contemporary consumer economy. Beneath its minimalist aesthetic lies a tension: a fascination with colossal machinery and anxiety about a system that, in the name of efficiency, renders bodies invisible and depletes resources.

Service au drapeau, by André Goldberg, ironically addresses the ceremonial gestures of power. Flags—symbols of nations, but also of exclusion—are served as if they were fine dishes at a negotiating table. The repetitive and ceremonial act highlights the theatrical, arbitrary, and often empty nature of the rituals of sovereignty and belonging.

Viewed from the street, these works invite us to look with critical—but also responsible—distance at the icons, systems, and rituals that define who we believe ourselves to be as a society. In times of symbolic crisis and systemic collapse, the shop window becomes a mirror, a showcase, and a warning.

Texto de Rebeca M. Urízar