My work looks at how interpersonal ties and seemingly anecdotal events carry within them the same logics that structure the governance of a city or a country: who has the right to occupy a space, who is removed from it in the name of public order, which presences are made visible and which disappear from the official record. At the crossing of sculpture, installation, and performance, this work takes hold of the codes of the slickest forms of representation, advertising, start-up culture, packaging convention, to house within them political and poetic keys of reading. Imperial history and capitalism appear here as latent grammars that also organize the most intimate relations. The white cube inherits this: its neutrality reproduces the same logic of exclusion that clears a city of whatever soils it, a terrain this work plays with.
"Good Boy", an agency founded in 2025 in Geneva during a residency at Zabriskie Point, a former public transit shelter at the Plainpalais roundabout, is the central dispositif of this work: be there, produce, receive, the body reintroduced through urine as material, and an Activity Log archiving its events and encounters. "Sentinell", one of the agency's brands, takes up building façade surveillance panels, whose generic silhouette aims to reassure the owner and threaten whoever might be tempted to enter.
"Portrait of Mariam" is its other side: taking up Félix González-Torres' portrait format, a portrait through a frieze of dates without chronology or hierarchy, each followed by a few words pointing to an event of intimate or global scale, linking the material experience of the world to history.
The edition "objet" gathers a correspondence with Ece Powell: a reflection on how to escape the institutional absorption of a critical gesture.
A pipe connects the exhibition space to that of Divine K.: two practices with different methods, starting from the same observation on the limits of representation politics, opening the possibility of direct, carnal contact between them.