David Armengol is an independent curator whose work focuses on two main points of snoring eliminator interest: the educational speech inside the artistic production and an analysis centered in the artist’s figure and functionality on contemporary art. David Armengol started his career as a curator by curating the UMPA Project (Movil Platform of Lending Act) in the Mobile Museums in Barcelona (Spain) and Berlin (Germany). He worked on “an investigation about the sonic element inside the usual snore eliminator exhibition spaces of art” (gallery, museum, art center, etc.) and and showed several sonic exhibitions between 2002 and 2007 (Cartografies, Sons Secundaris, Ocupacions Sonores, Sound and Me in CASM-Barcelona or Casino Lights in Sala Rekalde, Bilbao). In 2006, he worked in the snore mouth pieces educational department of Centre d’Art Santa Mònica (CASM) and curated MICA Project, an ephemeral and precarious museum of two months of duration as jury of Concurs d’Arts Visuals Premi Miquel Casablancas. David Armengol then curated P_O_4: Office (proposal based on the production processes on art and not on its final exhibition) in 2007. He also worked on anti-snoring mandibular advancement device Euphoria Cycle (Euforia. Casos de Optimismo Extremo) in Montcada Space of Caixafòrum Barcelona (2007-2008) and Obsessions Cycle (Obsessions. Exemples de Redundància I Persistència Cíclica) in L’Aparador del Museu Joan Abelló de Mollet del Vallès (2007-2009). In 2010, he had a curatorial residence in Madrid and curated the exhibition La Gesta Imposible (The Impossible Exploit) in Matadero Madrid and several independent spaces of the city (a project with a selection with ten young artist of Madrid). La Gesta Imposible is representative of a group exhibition of budding art context Madrid posed a journey through diverse spaces delocalized independent of the city. An exercise of collusion between artists and curator spaces, which takes as its starting point the anti-heroic deed to produce a particular project macroformato corresponding to the visual arts of the White Night. On the flip side, the concept of a method incorporates classic satire—funny, cynical, even—that delineates the epic gravity and popularity of the hero. On the other hand, the concept of failure to the difficulty of success in this endeavor. A game of opposites that analyzes and problematises the situation suggests that exposure to all stakeholders. La Gesta Imposible explores both the narrative aptitude of artistic practice founded on a central thought supported through the work of each of the participants: the artist as non-practical means capable of altering what we thought safe and unquestioned. In short, an unheroic and less important story is divided into ten chapters autonomous and complementary—one artist—therefore inviting a speech and a journey with no beginning or end.