From kenoo, -o (vacate, leave empty, evacuate). The term kenosi is used not so much to designate the process of emptying or evacuating an enclosure such as the one in its contour, in order to leave the nodule, with respect to certain contents, exempt.

Since the summer of 2005, Josep Asunción and Gemma Guasch work the kenosi performatively. The first motivation was the attraction they felt for certain uninhabited and desolate spaces occupied now by the remains of architectural trauma or uncontrolled nature. Spaces that identified as "opportunities spaces". The implicit silence in the images of a "unused" space is what Kairós (opportune moment) propitiates and unleashes the full force of what is potential, what is not yet and what remains latent what it was .

Throughout this work in progress, artists have been developing a series of performative actions linked to the experience of kenosi, the process of emptying due to disappearance or crisis, awareness of the presence of what has already is not here. In these actions, the emptiness becomes more real than full, the invisible exerts more pressure than the visible one.

In a first performance without audience, Asunción + Guasch "opened spaces" on the pages of some books considered sacred in their religious traditions. The creation of these spaces supposed the trauma in the speech of these untouchable writings, since it had to sacrifice much of its text with white corrective ink. The intention of this act was not the synthesis or the transformation of the meaning of the text, but rather to arrive at the words of the text that can unfold new speeches, acting possibilities.

The second, entitled Vishuddha, was held in the gallery Espais de Girona and was specially designed for the "How to act the dialogue?" Series, curated by Marta Pol. This included, for the first time, the need for active and committed participation of the public to make it possible. It was based on moving that first private action to the collective's experience. During an hour, the various participants were covering with ink correcting a large part of some "sacred" texts of different origins (artists, thinkers, religious traditions ...), while projecting images of opportunity spaces. Performance became an appropriate method for listening in a new way. The effort of having to delete much of the related message predisposed to an encounter with the much more vivid and essential word, became a first step to connect with the nodule.

The third performance, held at the second meeting at the Muga Caula, organized by Joan Casellas, was called Kenosi and consisted of a happening in which all the participants of the festival disassembled the mythical treatise of medieval mystic The cloud of not knowing , full after sheet, eliminating all the text with cutters and scissors, leaving only the outline of each sheet of pages visible. With this action, the message itself is ritually written in a symbolic collective experience.

The fourth action, entitled Ajna, was developed at the Santa Mònica Art Center of Barcelona, ​​in the international festival of performing events eBent'06, curated by Carlos Pina and Marta Pol, this year around the theme "Invisibles". In this, the public intervened one by one, materializing the emptiness created by the disappearance of people who had gone through the life of each one. On a screen, a veil driven by the wind was projected and, in a very intimate climate, the participants were drilling the screen with cutters, in a way that inspired their emotional holes. Then, the performers interviewed each one personally and elaborated a drawing of the outline of each hole while the participant verbally evoked memories of special moments lived with the disappeared person.

This exhibition at Espai Guinovart collects part of the plastic production that emerges from these performative actions around the experience of kenosis developed throughout the year 2006