The Museo Universidad de Navarra presented the program "Quarter System" and the works that the participating artists have created. The event was attended by the Museum's director, Miguel López-Remiro, and the curator, Manuela Moscoso.  

"Quarter System allows students to interact with artists and curators," stressed Miguel López-Remiro. "The works are very different from each other," he stressed as he introduced the artists and their works, "but united by the same common thread: the University of Navarra."

For her part, Manuela Moscoso explained that "Quarter System" also includes a curatorial workshop for students and a publication with authors from all over the world, which will be released in January 2014. "The workshop has offered students a different and specific vision not only of art but also of curating. It will have a slow but very positive resonance on the students of the University and its Museum" he assured.

After the presentation, the attendees were able to visit the different places where the works were exhibited.

Fuzzy Logic I & II, 2013 by Pedro Neves, a 40-minute film -between documentary and fiction- where the reactions of the people of the University in the event that it were to be isolated due to a global catastrophe, were screened.

The installation of the artist June Crespo, Piedras, 2013, can be visited until May 2 in classroom 3 of the School of Architecture. She has proposed for the program a plastic work based on the minerals of the Science Museum of the University of Navarra, and the materials and resources of the Building Laboratory of the School of Architecture. The artist has referred to Piedras, 2013 as "a situation-specific work in which she intends to establish a coherence between the concrete and stone sculptures and the photographs taken of the minerals from the Science Museum of the School of Science".

Finally, in the Esquiroz street underpass is the installation Deux Negresses, 2013, by Lorea Alfaro. The work aims, through the appropriation and re-insertion of the ceiling of the bridge in the form of a mural, to displace a selection of images and texts apparently empty of meaning to, according to its author, "restore its semantic power without losing a plastic and objectual character".