The Lift and the Swindler, 2020
This exhibition grapples with the borderline criminal act, and with what appears on the surface to be normative but in fact conceals the intention to legitimize shady bargains. The works seem to belong to a corridor of a forsaken office building, and comes across as failed trickery: the inner space of the lift was flattened into a two-dimensional relief, and the curtain designed to block the view in fact embodies it. A system of mistrust is therefore created in the space, immersing it and becoming intertwined with it, by means of the display devices responsible for the crime: the head is strangled in a violent embrace with the shelf holder, while the magnetic hangers fixing the drawings to the wall join in the spinning of the roulette. Together, the works portray the appearance of a mundane, buttoned-up office, suppressing a violence ready to manifest at the moment the contract is breached. The pieces in the exhibition generate a contradictory relationship of rhetoric and content; between the banal device of display and the familiar design of office furniture and between the scam concealed within them, between the buttoned shirt and the sweaty tank top underneath it.