SUBSTITUTION
The film follows encounters, conversations, and moments of shared work with gallerists, collectors, friends, and long-term collaborators, tracing an intimate journey through the structures and dynamics connected to the artist’s practice.
At first, the video work appears to present itself as the documentation of an exhibition. As the film unfolds, however, this initial impression begins to shift: what is being shown is not a fully defined exhibition, but everything that precedes it and makes it possible.
The film brings to the foreground the processes of thought, exchanges, relationships, and conditions through which the work gradually takes shape. Decisions, negotiations, periods of waiting, and shared labour progressively become the true focus of the narrative.
SUBSTITUTION does not simply document a final outcome. Instead, it follows the living movement of an ongoing process: a work that emerges through relationships, conversations, and transformations before an exhibition can exist as a completed form.
Through a visual language close to documentary, the artist observes and accompanies the protagonists of the film as they work, plan, and think together. The works that emerge within the documentary remain in transit: they never fully arrive at a fixed or finished form, but take shape through conversations, gestures, and shared moments over time.
The camera records a free succession of situations, like a series of video notes gathered in real time. In this way, the idea of the exhibition is not presented as a finished result, but as an open possibility, still in transformation.
Within this shift, the conventional distinctions between artwork, documentation, and exhibition begin to dissolve. The exhibition space no longer appears only as a site of presentation, but as an environment of production, relation, and thought.