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CANCELLED EXHIBITION
This work consists of email conversations that cancel or suspend the possibility of an exhibition. The emails exchanged between the artist and several gallerists become the primary content of the work, which is completed through the cancellation of the exhibition itself.
The repeated cancellation of exhibitions discussed in these Gmail exchanges does not produce an absence, but a form. What remains of the work is the mechanism that determines when and whether a work of art can take place.
In recent years, the growing production of visual and documentary material has progressively surpassed, in both quantity and centrality, the production of the exhibition itself. Images, texts, previews, social sharing, and archives of all kinds construct the existence of the work through images, before, during, and after the event, often in ways that are autonomous from its physical presence, as remote viewing has increasingly shifted toward the consumption of images of the event rather than the event itself.
In this work, that chain is deliberately interrupted. No exhibition material is produced, nor is the exhibition documented as an event. The artistic act of radically canceling the exhibition coincides with the suspension of these operational phases.
What remains is the administrative conversation that precedes the work and regulates its possibility: conversations, decisions, and preliminary images exchanged via email. These elements, normally destined to disappear, take on a formal and substitutive function.
Anticipation and archiving are not accumulated, but neutralized. The absence of images, installations, or residual traces signals a deliberate choice by the artist to interrupt the work before it even begins, making visible the point at which the production of meaning is intentionally brought to a halt.
CANCELLED EXHIBITION
This work consists of email conversations that cancel or suspend the possibility of an exhibition. The emails exchanged between the artist and several gallerists become the primary content of the work, which is completed through the cancellation of the exhibition itself.
The repeated cancellation of exhibitions discussed in these Gmail exchanges does not produce an absence, but a form. What remains of the work is the mechanism that determines when and whether a work of art can take place.
In recent years, the growing production of visual and documentary material has progressively surpassed, in both quantity and centrality, the production of the exhibition itself. Images, texts, previews, social sharing, and archives of all kinds construct the existence of the work through images, before, during, and after the event, often in ways that are autonomous from its physical presence, as remote viewing has increasingly shifted toward the consumption of images of the event rather than the event itself.
In this work, that chain is deliberately interrupted. No exhibition material is produced, nor is the exhibition documented as an event. The artistic act of radically canceling the exhibition coincides with the suspension of these operational phases.
What remains is the administrative conversation that precedes the work and regulates its possibility: conversations, decisions, and preliminary images exchanged via email. These elements, normally destined to disappear, take on a formal and substitutive function.
Anticipation and archiving are not accumulated, but neutralized. The absence of images, installations, or residual traces signals a deliberate choice by the artist to interrupt the work before it even begins, making visible the point at which the production of meaning is intentionally brought to a halt.