In tandem with political and social issues, much of the pace and sequence of STOP evokes narrative associations. At a consistent tempo, the artist brings viewers in and out of cinematic standards, as tonal shifts or narrative developments that are the result of the semi-random compositional framework point toward something more intentional

In a soccer game, the ball puts all elements into relation with one another; it triggers laws and actions around it that become meaningful only when played.1 Similarly, the elements in Beatriz Olabarrieta’s multimedia installations exist only in relation with the whole. Perhaps influenced by her early involvement in the tradition of “poor theater,” her productions materialize not as static objects, but as sequences in which the works perform unrevealed scripts.