What is the strongest work?
This is the first question to establish while staging the exhibition. It might look like an animal – but it’s not. Because some animals wouldn’t work, and this one does. Because this works on its own.
If it’s an installation, then the elements are freed from working on their own. The whole might be called “An exercise in sabotage”, and then the title constitutes a part of it. But it needs to work without an explanation, the entire piece.
[in the rack: "Bezos' Acid Trip", Matthew Bohan
in the vitrine: "101 Teppiche", 101 Teppiche" Celia Caturelli]