Sala de Espera (Waiting Room) is an installation built by Carlos Leppe in November 1980, and is composed of three mini-installations, known as (I) Las Cantatrices (The Opera Singers), (II) La Portada (The Cover) and (III) El Título (The Title) (See Site Map). The first Las Cantatrices refers to four television monitors. The first three play a film of Leppe in make-up, his torso enveloped in plaster, as he lip-syncs an operatic aria through the physical intervention of an orthopedist dental apparatus, which keeps his mouth open. The fourth monitor, positioned to face the first three, plays a film of Leppeœs mother telling stories about her sonœs life. The second La Portada consists of three parts: a) a reproduction of the cover design for the book Cuerpo correccional (Correctional body), which features the door to Leppeœs childhood home, the steps lit by fluorescent tubes; b) a projected photograph of Leppe with his mother in a park; and c) bundles of soil, wrapped in clear plastic sheeting, reminiscent of bodies recently exhumed. The third El Título brings together three final elements: a television on mute, which shows footage of the broadcast by the national TV channel; a mud block the size of a television, the interior of which holds a protective panel, forming a window that displays an image of the Immaculate Conception; and finally, the title of the work, written in neon letters. In addition to these three scenes, Leppe distributes a network of fluorescent tubes across the floor and walls of the room, about twenty in total.

Sala de Espera (Waiting Room) is an installation built by Carlos Leppe in November 1980, and is composed of three mini-installations, known as (I) Las Cantatrices (The Opera Singers), (II) La Portada (The Cover) and (III) El Título (The Title) (See Site Map). The first Las Cantatrices refers to four television monitors. The first three play a film of Leppe in make-up, his torso enveloped in plaster, as he lip-syncs an operatic aria through the physical intervention of an orthopedist dental apparatus, which keeps his mouth open. The fourth monitor, positioned to face the first three, plays a film of Leppeœs mother telling stories about her sonœs life. The second La Portada consists of three parts: a) a reproduction of the cover design for the book Cuerpo correccional (Correctional body), which features the door to Leppeœs childhood home, the steps lit by fluorescent tubes; b) a projected photograph of Leppe with his mother in a park; and c) bundles of soil, wrapped in clear plastic sheeting, reminiscent of bodies recently exhumed. The third El Título brings together three final elements: a television on mute, which shows footage of the broadcast by the national TV channel; a mud block the size of a television, the interior of which holds a protective panel, forming a window that displays an image of the Immaculate Conception; and finally, the title of the work, written in neon letters. In addition to these three scenes, Leppe distributes a network of fluorescent tubes across the floor and walls of the room, about twenty in total.