Both Circo de Pulgas and Dispatx are collectives working with different interdisciplinary artists and showing their work in virtual libraries. Circo de Pulgas was invited to collaborate on the concept of the scar as a sign charged with meaning - and invited in their turn various arists to submit works based on this theme throughout the month of April 2005. This made up the content of the 4th edition of the Circo de Pulgas magazine, which included a text from the Galician poet Luz Pichel and a visual poem from the Madrid-based video artist Silvia Muras reflecting on the impact of different scars on the female body.

Maria Salgado and Gonzalo Escarpa, coordinators of the magazine, brought their personal vision to the theme by manipulating the surface of the magazine itself, cutting into the onionskin paper of a number of copies. They placed an indeterminate number of pieces of hypoallergenic sticking plaster on the cut, thereby cutting the magazine in sections and returning it to its initial state through artificial means - provoking a rupture in the text and graphics and creating a true scar in the meaning.

Maria Salgado carried a copy of the magazine with her for 14 days, which produced a number of different cuts and imperfections in it alluding to the action of time and the elements on inanimate objects, which in itself is contrary to the physical healing process oevidenced by scars - and in this case, with no conceivable reproduction.

The poet and sculptor Ignacio Miranda completed two spontaneous poetic treatments concerning the different forms of scars, moving the concept of the scar from the surface to the base upon which the work is constructed, producing intentional wounds in particularly fragile materials. In the same way, the poet Luz Pichel developed a series of poems on the theme, which were published in Circo de Pulgas.

Each artist offers a different vision concerning the given theme - not only in the content of the work, but also in its formal and conceptual development. Each has come up with artistic work based on the poetic component of scars, on tears in material and the recuperation of the initial state, through a healing process in which time works directly on space. This is similar to an artist working on their own work - asking themselves through the creative process how they will make a mark in nothingness.

Circo de Pulgas, 2005