From the illustrative nature, register level, thematic elements, construction technique or as a mnemonic object (of memory), appropriation in the plastic arts allows a certain cultural nomadism and stylistic eclecticism that works under the quotation principle.

As a creative practice, the artists take elements, references from other works to create a completely new piece in which the appropriation is re- contextualized giving it an au courant meaning.

These “iconographic loans” communicate the role of art in culture as an ideological model, which hides its construction mechanisms, and supposes the use of diverse sources of inspiration that collide in the work to accentuate the representational character.

In another context, the quote refers to getting together, to a social activity carried out, to a popularized system where often more than one person uses games, rules or rituals.

Both aspects of the word give rise to an exchange of information: between the various images that coexist in the painting, and an interpersonal and relational exchange.

In a double standard, with CITERE, GALERIA AZUR unleashes an intimate encounter between the visitor and the artwork, an appointment with art, with creators and with space; while it exposes some rencontres of artists within the pieces.

The use of quotes referring to an event, an image, a phrase – a common resource during postmodernity – becomes a visual process to direct the aesthetic discourse, posture and/or interests of the artist. In CITERE, it is art itself, in its inevitable questioning, that proclaims the relationship with the artists cultural references, even more so when they correspond to the history of the pieces of art, ergo, to the history of art.