Jeremy Deller with these two projects, both developed in 2008 for the public art project connected to the Fourth Plinth in Trafalgar Square, proposes an anti-monumental and deeply political vision, working – in his own words – more from the perspective of a citizen than from that of an artist, and remaining closely connected to the contemporary situation of a country, then involved in the Iraq War.

The first proposal is a life-size statue of David Kelly, the British scientist whose death, officially ruled a suicide, followed statements he had made to the media expressing doubts about the alleged presence of weapons of mass destruction in Iraq and the subsequent parliamentary inquiry.

The second proposal, entitled The Spoils of War, consists of exhibiting the wreckage of a car destroyed by a bomb in Iraq, thus bringing a trace of the war to what has for centuries been the heart of the British Empire and is still universally recognized as a place of strong monumental character.

]]> http://hdl.handle.net/1889/2094]]> This project represents, first and foremost, a reflection on the feasibility of art projects and on the relationship between the artist and the commissioning body within the contemporary art system. Through the irony and poetic approach that would characterize his later projects, the artist ultimately questions broader dynamics and meanings.
In this work, conceived when Jonathan Monk was still a student at the Glasgow School of Art, the artist presents a series of proposals for projects that are, by their very nature, impossible to realize — crazy, as he himself describes them. Closely connected to the designation of Glasgow as European Capital of Culture in 1990, Small Proposals Book is a handmade book containing the presentation of six public art interventions for the Scottish city. These are bound together with a (fake) response letter for each proposal from the official to whom the artist would supposedly have submitted the project, the Visual Arts Officer Tessa Jackson. Both the images and the response letters were, of course, produced by the artist himself.
The visual part, through the reuse of everyday images that are exaggerated and stereotypical, aims to emphasize the deep irony and the implicit critique of the dynamics associated with this type of intervention. Jonathan Monk pretends to propose bringing the pyramids to Glasgow Green, moving the Golden Gate Bridge over the River Clyde (although the image used was actually that of the Humber Bridge, which is why the proposal is rejected in the fictional response letter), restoring driving orientation to continental standards, transplanting one of the giant sequoias from Redwood National and State Parks, moving Stonehenge to redevelop the fountain in Kelvingrove Park, and finally relocating Disneyland for a year to the parking lot of the St. Enoch Centre.
Read more.

]]> http://hdl.handle.net/1889/1757]]> Big Suit Departing was conceived for Berlin Schönefeld Airport. The project consisted of a giant figure—10 × 3.5 m—suspended inside the airport hall at a 50% tilt.

The “dummy” has neither head nor limbs and is completely hollow, allowing passengers to see through it. The work is highly realistic, with details such as buttons, eyelets, and fabric meticulously rendered.

This characteristic is typical of Erwin Wurm’s work, which partially distorts the reality we live in.

This type of “monument” is not intended to celebrate the common man; rather, as in all of Wurm’s work, it seeks to glorify an exorcism of everyday life—a celebration of a different reality, of visionary and distorted perceptions.

Read more.]]> http://hdl.handle.net/1889/2327]]> Scott King developed this project as CRASH!, together with historian and writer Matthew Worley, for the Serpentine Map Marathon event.
A Better Britain is a series of 12 projects, published inside what appeared to be the programme for the Map Marathon, along with information about the event. Each project features an image—designed by Scott King with a xerox, collage-like aesthetic—and a text written by Matthew Worley presenting the idea. Each proposal addresses a specific aspect of contemporary Britain, adopting a utopian/dystopian and often satirical perspective.
MoRE also conducted an interview with the authors about the projects, which was published on the museum’s website.
Read more.]]> http://hdl.handle.net/1889/2410]]> Read more.]]> http://hdl.handle.net/1889/2330]]> The project consisted of inviting an icon of popular culture – such as Iggy Pop – to pose, without revealing his identity to the students, as a model for a drawing class. The results of these sessions would then be donated and preserved at the Smithsonian Institution. The artist’s research here focuses on the importance of preserving the social content and values related to pop music and its enjoyment, placing them in a broader cultural context, and, in particular, on the role that certain bands and musicians play for specific communities of fans or, as in this case, for a heterogeneous and often unaware public.
The document is a drawing by Sarah Tynan and serves as an example of what could have been the outcome of the class’s work.
The project was organized by the Brooklyn Museum in 2016.
Read more.]]> http://hdl.handle.net/1889/2099]]> official page. Erwin Wurm declared that the project has been officially refused for formal reasons.
Read more.]]> http://hdl.handle.net/1889/2331]]> The possible commissioners and the reasons why the project remained unrealized haven’t been specified by the artist.
Read more.]]> http://hdl.handle.net/1889/2332]]> Jeremy Deller, invited to the Carnegie International in 2004, presented this project—which can be linked to a broader series of research and reflections on the contemporary war in Iraq—with the intention of displaying one of his large banners on the museum’s façade, recalling the one used as a backdrop by President George W. Bush during a speech. This banner bore the words “Mission Accomplished.”

In the image, beside the banner, there are two Post-it notes referring, respectively, to the display—also on the façade—of a photograph (taken from existing documentation) showing Donald Rumsfeld, then President Reagan’s special envoy to the Middle East, meeting Saddam Hussein in 1983; and to an ambiguous flyer posted on the doors of some houses in Florida during the 2000 presidential election, which refers to what the artist considers a Republican Party strategy to discourage opposing voters. The flyer falsely stated that, in order to vote, all fines had to be paid, and also indicated an incorrect election date.

As reported by the artist himself, the theme of the work was “just too raw at the time.” Instead, for the exhibition Breaking News (Dedicated to Peter Watkins), he created a site-specific work for the miniature rooms at the Carnegie Museum of Art, where he overlapped models and reconstructions of ancient battles with architectural elements, period furnishings, and a television transmitting images.

Read more.]]> http://hdl.handle.net/1889/2097]]> Jeremy Deller proposed a structure similar to Stonehenge, or simply menhir-like, to mark the entrances and exits of the Olympic Park, which was to host stadiums and other facilities in London in 2012. The deliberate ambiguity lay in creating a structure—although contemporary—that appeared to pre-exist its context and to foreshadow a possible fate of ruin for all the structures within this high-tech area. At the same time, it referred to the values associated with Stonehenge, an icon of British identity whose meaning remains largely unknown.
Read more.]]> http://hdl.handle.net/1889/2103]]> This was the first idea proposed by Jeremy Deller after he was commissioned by TfL to design the cover of an edition of the London Underground map, distributed free of charge in all stations. The proposed design initially featured a bicycle, composed of the colors representing the different lines on the Tube map.
It was rejected, as it conveyed a message that could – according to the commissioner – confuse some users of the London Underground service, since bicycle access was not permitted on all lines.

The commissioner was TfL – Transport for London, the authority responsible for transportation in the London area – within the framework of the Art on the Underground project, which invites contemporary artists to create both temporary and permanent works for the London Underground environment. Jeremy Deller then designed the cover of the Tube map together with artist Paul Ryan. The work, presented on July 1, 2007, is still visible at http://art.tfl.gov.uk/projects/detail/1119/.
It consists of a portrait of John Hough, who was then the longest-serving member of TfL staff.

]]> http://hdl.handle.net/1889/2101]]> Cannocchiale ottico percorribile was designed by the artist for the 1968 Milan Triennale, dedicated to the theme of the Grande Numero, in the never-realised exhibition Interventi nel paesaggio. Inside this project artworks by young artists should have been exposed in town and city centers to offer an artistic vision of the world in scale with the physical environment.
In the oral reconstruction provided by his wife Franca Scheggi Dall’Acqua, in support of the two photographs of the project, the optical telescope should have been made in chromed steel and in collaboration with Italsider. Scheggi of this project produced a maquette, also in chromed steel. The Cannocchiale ottico percorribile was to be shown in Florence, between the Cathedral of Santa Maria del Fiore and the Baptistery, in line with Via de ‘Calzaiuoli and Via dei Martelli. The dimensions hypothesized by the artist had to be such as to accommodate about a man of medium height in it, who could have been following the inside path in all its lenght. The work unravels itself in a zigzag and irregular shape, such as to produce an effect of disorientation on the viewer, increased by a very dramatic interior lighting; in addition responding to the theme of the exhibition inside the Triennale it was also a reflection on the Florentine Renaissance perspective, made explicit with its placing in the square in Florence (Scheggi was a native of the city and soaked in humanities); but we can also place it among the top experiences of Paolo Scheggi related to the concept of tunnel and path in the dark that would then be developed in the following years, bringing us the environment ONDOSA (as reported in the bibliographies and biographies of the artist) or ONDOSA NERA (as shown on the projects of the artist himself) otherwise made for the show Eurodomus in Milan, 1970, and then destroyed.
Read more.]]> http://hdl.handle.net/1889/1998]]> Read more.]]> http://hdl.handle.net/1889/2361]]> Mind Bubbles is a project designed as an installation for the entrance hall of the head office of the Volksbank Wien, a building by the german architect Carsten Roth.The sculptures seem to be suspended in the air, as if a device had frozen them: a process that inflates, distorts, makes things bigger and smaller, creates unexpected shapes and new realities that become an inspiration for our everyday life. The reasons why the project remained unrealized haven’t been specified by the artist.
Read more.]]> http://hdl.handle.net/1889/2363]]> Meteorite al contrario (2010) is the launch into space of a normal stone of medium size, which would constitute a kind of meteorite, according to a trajectory opposite the one that usually leads an asteroid to accidentally stumble on our planet. With this project, in addition a to normal challenging of the scientific premises that describes the trajectory and the ablation with the atmosphere of an extraterrestrial impact directly on the ground, the artist is trying to subvert the classic paradigm of contemporary technology: the maximum technology in minimum space, which in this case would be the minimum technology in maximum “space”. The project is closely related to the poetic of the artist, since long time resident in Paris, and it is referable to a system of signs and meanings, an interest in the universe that started with a work in progres born in 1999 entitled precisely Space, which in more than ten years has involved Bertocchi in the creation of a parallel universe: around 3000 images of galaxies and planets invented by the artist. The project has not been realized yet because of its high costs.
Read more.]]> http://hdl.handle.net/1889/1997]]> Read more.]]> http://hdl.handle.net/1889/2089]]> island of Favignana, in the south of Italy, to reproduce themselves, and according to the artist to make a journey of love. On this occasion the fish goes through a maze made up of fishing nets to end up inexorably in the death chamber, where they are harpooned and killed. The action has been designed by the artist as a game of reversing roles, in which the men take the place of the tuna and unaware they are ready to participate to the last moment of their life, just waiting to be slaughtered by other men. It is a transposition of the man from hunter to prey, from victim to victimizer, an inversion that creates alienation and a violent trauma. All these elements lead the viewer to a possible kind of visionary hallucination, where the role of Presicce is no longer that of the protagonist of his own performance but of an expert Director of expert careful towards the construction of a new appearance. This performance also draws inspiration from a short aphorism by Carmelo Bene in which the actor claims that the public should pay the cost of the show with his own life.
Because of its utopian nature, it has never been possible to realize the performance.
Read more.]]> http://hdl.handle.net/1889/2054]]> Installation in 2 parts, 2009. Venice, Basin of the Arsenale, Gaggiandre, and Tese delle Vergini, Italian Pavilion.

Environmental dimensions. Light, water, photography, sound.

A) Outside: A semi-submerged photographic image of 60x20m. occupies the stretch of water of one of two ancient covered basins of the Arsenale. The image represents simultaneously two circles of water and the symbol of Infinity. A stone thrown in water has created the splitting of the first cell, giving rise to a multiplicative process. The photographic act freezes the action and renders eternal the instant and the becoming of time, Past and present, stasis and change, finite and infinite are simultaneously present: the place is real and virtual at the same time.

B) Inside: 12 light-boxes placed in the niches of the left wall of the Theater of the Virgin transform the wall in a great self-illuminating façade. Light and architecture are welded into a single radiating structure that transmits light within the building. On the floor in front, a water tank of about 16×16 m. reflects the architecture of light, generating the virtual image space. The still surface of the water is perturbed by the undulatory motion of concentric waves that propagate rhythmically from the center of the tank. The vibration of this liquid surface corresponds with the intangible sounds diffused into the great emptiness of the room: visual and sound waves interact, creating the vibrating movement of the water.
Read more.

]]> http://hdl.handle.net/1889/2001]]> Il fiore e la pietra is a project of a urban sculpture for square in Turin, Italy. It was presented by the artist, on invitation by Gianni Romano, at the contest for young artists «Premio Artegiovane/Torino Incontra. Una porta per Torino» curated by Guido Curto, 6th Edition, 2002.
The theme draws its first inspiration from B.C. comics by Johnny Hart: a frail flower dialogues with a stone. The ambiguity between solidity and frailty is symbolically set aside the then very adverse situation of FIAT, the most important manufacturing company of Turin, and the problem of the blue collar sleeping area.
The environment in which the project was developed is typical of a still common situation in contemporary art: conceived to apply to a contest, it was never realized, as well as all the other projects presented, due to lack of funds.
Read more.]]> http://hdl.handle.net/1889/1996]]> Looking for the island is a video project dedicated to the Garbage Patch, an ‘island “dump” located in the Pacific Ocean that began to form around 1950. This particular island, composed of polymers in the form of bottles, packaging, networks and other kinds of junk, is moved constantly by ocean waves that wear the matter down by reducing it to tiny particles dissolved in water. The floating mass of “particle waste”, which apparently resembles plankton becomes food for fish and birds, reintroduced into our food chain and consequently in our bodies.
The artists projects is based right on this contrast between natural and artificial, landscape and industry; through the video they want to document the journey of these plastic particles that paradoxically become feed for fishes, and therefore food for human beings. Challenging the common perception of this place, that is often considered improperly as a real island, this video wanted to place a videocamera waving slowly inside the water, extending and shortening the length of the take from time to time through these fragments of memory. The artists realised specifically for MoRE a series of watercolors that represent the Garbage Patch; moreover, they donated two charts, part of the project, that analyze the ocean and its currents. All the five sketches present a circular design that reminds, indeed, the island or cloud of garbage, while the lines in subtle colors seem to remind a rarefied and immaterial universe The artists were invited to realise this project by Fondazione Hermes in 2007, but it wasn’t selected in the end. It's still unrealized due lack of funds.
Read more.]]> http://hdl.handle.net/1889/2329]]> Read more.]]> http://hdl.handle.net/1889/2421]]> Orbite is a site-specific project designed for the Palazzo della Regione Lombardia in Milan: on two of its façades (the south-east and north-west one) Uberti wanted to install the light drawing of a portion of the orbits of the solar system. The orbital map was taken from the NASA site and redesigned, scaled. The request was made to Massimo Uberti, along with four other international artists, by a manager of the Lombardy Region in 2009. The goal was the development of the new headquarters of the Lombardy Region with large, site-specific contemporary art works. The project Orbite was developed by Uberti in collaboration with N.O. Gallery, directed by Ilaria Barbieri Marchi. The cost of the project was € 200,000 and covered all expenses, from concept design to the set up and the communication plan. Until the delivery of the executive projects, the work was feasible. Once delivered, the reasons for non-completion have never been made public.
Read more.]]> http://hdl.handle.net/1889/2341]]> The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008, for the creation of two works of art for the MAXXI Museo nazionale delle arti del XXI secolo, Rome: one had to be designed for the atrium of the museum and another one for the outdoor areas.
The light work Esser Spazio had to be placed outside the MAXXI Museum, integrating the architectural environment with discretion and inhabiting the final steps of the square above the entrance to the museum. Uberti, coherent with its artistic research which often aims at drawing symbolic shapes and signs on the architectural and urban public space – sometimes with effects of displacement, sometimes to emphasize the characteristics and peculiarities of the place - in this case suggested a sentence, a motto and at the same time a call, asking the public to actively participate in the construction of the museum: then reflecting on the meaning of this new space for contemporary art, on its role in respect to the culture, but also on the shape of the city itself. The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008 by the Provveditorato interregionale per le opere pubbliche per il Lazio, l’Abruzzo e la Sardegna, in agreement with the PARC Direzione generale per la qualità e la tutela del paesaggio, l’architettura e l’arte contemporanee.
The work didn't win the competition.
Read more.]]> http://hdl.handle.net/1889/2333]]> Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2422]]> Ritz, a project for the realization of an outdoor movie theatre inside a park in Trento proposed the year before (2004), and it consist in the proposal to place of a permanent movie theatre at the P.A.V. (Parco d’Arte Vivente) of Torino, project of the artist Piero Gilardi realized in collaboration with the landscape architect Gianluca Cosmacini.
The project, unrealized due lack of sponsorship, consisted in the facade of a movie theatre in deco style outlined in black on a white background, that recalls a movie theatre seen by the artist in the small city of Anzola Emilia (Bo), on a 4 x 3 meters wing made of painted bricks (as “a big A4 paper sheet”), as can be seen in the sketch that documents this work. On the facade are two entrance doors with their tents and lamps placed on each side, while on the top of it can be seen a decoration with three figures that ironically represent three reindeers as they usually appear on Christmas illuminations and decorations and that frame the sign “Cinema Italia”.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2418]]> is proposed by the artist the following year with some changes for the P.A.V. (Parco d’Arte Vivente) of Turin. The project, originally thought to be placed inside a wood, consists in the facade of a movie theatre outlined in black on a white background, on a 4 x 3 meters wing made of painted bricks (as the artist explains, “a big A4 paper sheet”). The facade recalls a liberty-decò style building, with the introduction of eclectic elements, and it refers to a movie theatre the artist saw in Antananarivo, Madagascar. To enter the theatre the audience needs to move around the wall, beyond which are placed four seats in concrete destined to be covered with moss. The seats address the landscape instead of the wall, that therefore becomes a wing and hides the watchers. Even though the project won the competition, it was not realised in the end because it was not possible to find an agreement with the neighbour that lived nearby the place that was identified as the most suitable for the realization and for other logistic and organizational reasons.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2417]]> Project for the realization of a sculpture for the roundabout located at the entrance of the village of Verduno, in the heart of the Langhe region, where Valerio Berruti chose to live and establish his studio inside a deconsecrated church.
It is a tribute to his homeland, the Langhe, observed through the innocent and carefree gaze of childhood, a subject and metaphor for an ideal world, symbol of a purity inevitably lost with maturity.
Read more.

]]> http://hdl.handle.net/1889/2105]]> Scala by Valerio Berruti consists of a project for a mural on the walls of a large staircase inside a 19th-century building in the center of Alba, recently renovated for its new use as the headquarters of a well-known local bank.
Once again, childhood is the central subject of the preparatory sketch, featuring a nearly stylized figure of a young girl whose minimal drawing achieves a striking expressive power. It is an image of poetic lightness, evoking in each viewer memories of past years, family ties, and, more broadly, the notion of memory.
Read more.

]]> http://dspace-unipr.cilea.it/handle/1889/2106]]> The project never won the competition.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2055]]> the other project donated to MoRE, but also a performative research that approaches both the avant-garde of the Seventies that the more recent trends of the Nineties, and that is penetrated by a Neapolitan sense humor with ancient roots (remembering Totò and Eduardo de Filippo) that conceals melancholy and irony.
The project was created in collaboration wirh the Krome Gallery (Berlin), but a second gallery has never been found.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2415]]>
The first two projects of the same title, TRITON, deal, on a different level of detail, with the same event that, mainly involving sound, designed for a duration of seven days, would have involved the entire city of Bonn, starting from the river, on which he passed on a barge that housed the orchestra. It would have been a form of homage to the great composer Beethoven not only in terms of sound/ environment, but also from a visual point of view, considering that in the project this aspect is lagerly considered.

LA LUCE DEL SUONO, a project for “a concert of lights and sounds” that would have involved a vast area of the Danube river and nearby land, conceived by Mosconi in 1984 and presented for the 1986 edition of the festival “Ars Electronica” in Linz, is the result of the further development of a core part of the same imaginative unit that shaped TRITON.
Read more.]]> TRITON: 1976-1977
LA LUCE DEL SUONO: 1984-1986]]> http://hdl.handle.net/1889/1999]]> the other one donated to MoRE, Lorenzo Scotto di Luzio works on the opposites, inserting in a totally neutral setting – a distinctive trait of the Eastern world – an element with a strong “western” connotation, that represent the commerce and that clashes with the unspoiled landscape of the desert. In the idea of Scotto di Luzio, the staircase is defunctionalized and will not need any maintenance, it should deteriorate and become a relic, an abandoned monument, almost “commemorative” of a past world. Even here the artist hides a paradox, perhaps a joke: the celebration of the western cult just inside the eastern world, two concepts and two cultures that come together to create a sort of epiphany of the vision, just like a “mirage” in the desert. The artist, in the review of the project, calls it a “bachelor machine”, a sterile and unproductive device, a sort of ready-made on a large-scale, defunctionalized and completely out of context, designed not to be placed in the hall of a museum but in the desert, an aseptic and neutral space.
The project was born withouth clients, and with the willingness to propose it to some commissioners in the Emirates, but has never been proposed to any possible commissioner.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2414]]> Roue de bicyclette, a ready-made exhibited in several museums all around the world (Centre Pompidou in Paris, Tate Gallery in London, Moma in NY...). Considering that his work is a reproduction itself, a copy of the lost original, the idea of a “posthumous homage-enrichment” is really close to Duchamp spirit. The introduction of a credit card establishes a link with other artist who changed the art world, investigating the role of money and material goods, such as Dali (Avida Dollars) but above all Wharol. There is a recreational element in this gadget: the artist took inspiration from the playing cards that children put on their bikes to simulate the sound of an engine. The kit, made of a copy of the artist’s credit card and a clothes peg to decorate Duchamp’s work according to Bonacorsi’s instructions, is sold apart in the museum shop.
This work was planned by the artist on the occasion of the re-opening of Centre Pompidou collections in 2000, but he never proposed it to the museum: a typical development of Bonacorsi’s work, really influenced by the concept of dépense.
Read more.]]> http://hdl.handle.net/1889/2000]]> Read more.]]> http://hdl.handle.net/1889/1770]]> The documents donated by Ugo La Pietra and named Nodi Urbani constitutes, compared to the Progetto per la Casa dello Scultore Cappello, a further variation of the 'unrealised'. If the casa per uno scultore is a ‘theoretical’ academic exercise that engages even the pictorial research of La Pietra, the drawings titled Nodi Urbani represent the 'frame' of a series of lexperiments carried out in the years following his graduating in architecture at the Politecnico di Milano.
Read more.
]]> http://hdl.handle.net/1889/1771]]> A partial realisation of the project has been the creation, together with a team of curators, of an invented artist who realised some works and took part to some experimental exhibitions.
Read more.]]> http://hdl.handle.net/1889/1776]]> Finestre since its first conception, has undergone several revisions and can be considered only partially realised. The idea of opening windows on adjoining rooms to offer the spectators an unusual continuity of vision between contiguous spaces is conceived initially as a real demolition of the walls of the building hosting one of the seats of Vivita 2 Gallery of Ciotti and Camillo D'Afflitto in Florence (adjacent to an old abandoned cinema). This idea was abandoned for technical and practical difficulties, and in January 1990 the artist realized a different version of the project (inside Vivita 1 gallery in Florence) by exhibiting on the walls of the gallery pictures of the adjoining rooms that were recessed inside the walls that should have been tore down to produce a kind of trompe l’oeil effect (as can be seen in an undated sketch found among the artist's papers that probably dates back to 1989).
Read more.]]> http://hdl.handle.net/1889/1773]]> Read more.]]> http://hdl.handle.net/1889/1774]]> The project, part of the author's critique of the system, addresses the issue of how contemporary art is experienced and of the so-called art system in general.
An initial version of the project was developed starting in 1991. In one of the artist’s notebooks, we can find notes about a solo exhibition that was supposed to take place in a private gallery in Rome at the beginning of 1992 but was never realized, probably because the art dealer feared a possible misunderstanding of the performance.
The project, in fact, was based on the participation of a group of prostitutes, invited and paid to attend as guests. Their presence was meant to provoke a sense of alienation in the spectators, who would perceive something unusual compared to a typical vernissage.
The performance was to be documented through photographs and audio recordings, but it was canceled by the commissioner a few days before the opening.
An alternative version of the project appeared in a book published by the Jartrakor Study Center in 1992. It was based on the idea of inviting people with distinctive, easily recognizable features (such as clergymen), but dressed “normally,” in order to evoke in the viewers a subtle sense of unease or strangeness.
The same project was later described in the catalogue of the exhibition Exhibit A at the Serpentine Gallery in London, which focused on the question of the role and meaning of the “exhibition.