[kasero’laso] derives from the Latin American cacerolazo, a form of collective protest based on the sound of banging pots, widely used across recent political crises in the region.

The installation re-performs this gesture through mechanical arms that endlessly repeat the action — more faithfully than any crowd could. What is lost is not the form of protest but its subject: the body that chose to be there.
Glass elements introduce a latent condition of rupture, reintroducing fragility into a system that, unlike human bodies, does not risk anything by continuing.