Over 9 years ago, Encapsulated celebrated its first exhibition in a capsule-‐hotel in Tokyo located next to the central Ebisu station. Cubicles 610 and 612 measured a little more than one cubic meter but they easily accommodated an exhibition with twenty paintings, drawings and photographs which were transported to the corresponding capsules in a couple of make-‐up cases. Since that first scheduled exhibition, Encapsulated has curated eleven exhibitions devoted to small formats and has claimed unique and unpredictable locations such as for example, the interior of a water tank in the "Finca Roja" ("Red Building") in Valencia. This fondness for unusual places at times has caused a certain degree of concealment and urgency. This happened in Hanoi when Encapsulated, neglected by the local police, decided to install its eighth exhibition in an altar for the dead in the central street of Ly Thuong Kiet. The visibility of the exhibited artwork is very limited on occasions but this is compensated by the subsequent documentation and communication by means of a encapsulated fans, a brotherhood of what portable and lightweight art. José Oliver, inspired by the installation in the Albion Hotel in Miami, very accurately defined these exhibitions as “brief and secret, discovered in a careless moment, when directing your path from the swimming pool to the bar, or as if you have been clandestinely summoned by the organization”.
Encapsulated also has a laboratory air. They enclose small doses of the substance prescribed by artists in visual capsules which must be set up without delay because usually in hardly an hour or even several minutes, the exhibit will be dismantled. This was the case of the aforementioned exhibitions in Tokyo, Miami, Valencia and Hanoi, which were the most fleeting. This was also the case in Berlin and New York. However they have been exceptions. On several occasions, the Encapsulated exhibition, with prior agreement with the exhibition space, was displayed for a month or two, abandoning their haste and discretion, and as Degas, "their secrets roam the street". These exhibitions were created by the invitation to participate in projects similar to Encapsulated, such as the Shop window-‐gallery, La Naval in Cartagena (Murcia), the studio space called "Gabinete de Dibujos" in Valencia or the drawing table of the Casa Sostoa in Málaga. They were also capsules then, but they were extended time-‐release capsules.
Based on these two lines of action, one covert and spontaneous and the other authorized and persistent, Encapsulated still has a third option to carry out projects which are not strictly exhibitions but also related to strategies capable of bypassing all economic or bureaucratic obstacles. This third strategy was inaugurated by the Encapsulated annual collaboration with the Spanish publisher, Fire Drill. This involved folder exhibitions, with 50 original artworks by 10 artists working on the same topic distributed in 5 cloth-‐bound folders. The first exhibition was dedicated to Walden by Henry David Thoreau (January 2015). The second exhibition was dedicated to David Lynch (January 2016).
Rubén Hernández from "Errata Naturae" magazine, defined the Walden project as “a life manual to learn how to be happy by reducing necessities so that we only depend on ourselves, so that we are not conditioned by external circumstances”. This could perfectly describe Encapsulated.