Stanley Kubrick gave contemporary Western culture a mystery and a totem: the monolith that serves as the guiding thread in his masterpiece: the science-fiction film 2001: A Space Odyssey. It is an object of unknown origin and meaning that comes into contact with human beings to provoke an evolutionary leap in their cognitive capacity. Monolith by the artist SpY is a hypnotic visual experience that traces a link between the cinematographic myth and the most totemic element of our society: the mobile phone screen and, by extension, all the screens that surround us on a daily basis. It is a direct allegory of these magical mirrors that absorb all our attention, and that we have integrated into our lives to such an extent that we even use them to build our identity as people, and to modify the notion of reality: a cultural leap with respect to the relationship we have had up to now with the two audiovisual dimensions.

The contextual projects of the Spanish artist SpY are some of the most original contributions to the evolution of urban and public art. Throughout his career he has given shape to increasingly ambitious and suggestive installations and interventions, produced in cities all over the world, which challenge spectators and involve them as active subjects in the artistic process. He always poses substantial questions about the reality of human relations. His interventions disrupt daily routines, dialogue with the urban environment and explore it as a playground full of unexploited possibilities. One of the driving forces of his discourse is the creation of strong conceptual contrasts between the aesthetics of his works and the difficult connotations of the objects with which they are constructed, often elements used to condition people's behaviour. SpY designs and produces his artistic projects from the SpY Studio platform, which includes a laboratory as well as an eclectic team of technicians.