More than a retrospective, Heresies offers a prospective vision. Its horizons are not in the past, but rather the future. Nor is this a simple exhibition; it is a device: a heterogeneous set of discourses, installations, features, and symbolic procedures that go far beyond the exhibition of a corpus. Heresies pits us face to face with all that its craftsman has seen throughout his life, reshuffling it, and summoning us to observe it ever again, anew. For this part Pedro Meyer is not just anothes photographer and artist among others; he is an entrepreneur, a polemicist, and an originator whose diverse facets invigorate, even more than they contradict, one another. How might we approach this creator and his oeuvre without overlooking his breadth and complexity?
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