It is quite clear to me how the relationship between work, frame and exhibition space has changed. But why, with what purpose was the artwork given up in favor of the context?
With the "Displa[y]ce" project I returned to the scene of the crime - the white cube - to affirm the indispensability of the image and its substantial independence from space. In doing this, I used a reversed site-specific modus operandi which confuses the contours of the space and the physical extension of the work by acting on the limit that separates and defines both.
The adhesive tape acts on the separation between space and operates without resolving in one or the other direction. The pictures re-mediate the signs on/in the space without being a simple documentation or installation view. Those traced with adhesive tape are multi-purpose visual tools: signs, supports, surfaces, margins, measurements, photographic delimiters.