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«Getting out of the painting, back into it, out of it, and around it again: nothing could be easier, at least when the object, the work-object, the work-object-painting, the installation-work-object-painting, in short, when that thing there stops laying in its physical limitations, at the peak of the most autonomous abstractionism: monochrome as a blank sheet of paper to be signed. No. When that monochrome speaks to its brothers, when that painting, that little square, lives among its square-brothers, then yes, that is child’s play. After all, one has to feel truly alone, apart from others, in order to finally call each other, and it is precisely the space of our difference that drives us to repeat ourselves, to multiply ourselves, to reflect each other in the chromatic phenomenon that is as physical as possible. […]»

Supported by: Città di Lugano, Ufficio dei giovani DSS, Migros Culture Percentage, Fondazione Weak Ends