This work is part of the Public Markets, Project in which these spaces are taken as forums of public rhetoric. The means of production of the project are based on socio- economical dynamics distinctive of the different forms of community that articulate these markets. The pieces of work are platforms for dialogue from which there can be imagined other actions, and finish with a specific site intervention, product of a cyclic temporary structure. The dynamics that I suggest as an artist are vanished in social processes; all the social process is part of the work, and it turns out to be absurd that it is seen into an authorship field. Here a basic structure suggested at the beginning is shown, not what has happened since then. The ritual- action – that since  it reunites merchants and close relatives from eleven different public markets of la Merced- starts seven nights before the procession, when the Lord of Corn (until 2010) was dismembered, and then each of his parts (arms, hands, legs, etc) distributed in different markets of the neighborhood of La Merced. During the procession, that takes place the first Tuesday of the first crescent moon of October, the limbs of the sculpture are put together while it passes through the markets, until it has finally been rebuilt; the sculpture is received by the steward market, where it’s taken care of for a year. The procession is accompanied by chinelos, a wind instrumentation band, and empty baskets with rattles and banners where can be read the most used trade strategies in the participant markets. In 2008, the Centro Cultural de España, through the seminar of Medios Múltiples, in coordination with the Academia de San Carlos, financed the first procession.

Days afterwards, various merchants of the markets got involved in the planning and implementation of a second procession. I started then walking through these spaces, talking to merchants about the structure of the ritual and ways for financing.