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In ‘Vitruviano’, the departure concept-image that governs the exhibition refers, from a distance, to the Renaissance humanist icon, with a playful and subversive element to distort the solemnity of this archetypal image and thus open up a space for debate on this sense of self-importance of the hegemonic historical narrative and its homogenising projection, legitimised by an accumulation of knowledge that reduces it to its own operative context and excludes others, to indicate that there are as many realities as there are subjectivities and, by metaphysical explanation, as many subjectivities …