The first possibility of the installation is formed by the movements of a movement choreography. There is no fixed place for the plates. After that, the table can be rearranged at any time. The colors used create “picture possibilities” that can be viewed as both empty aestheticizing games and visualizations of the meanings associated with the content.
Our hashtagged words refer to something similar or something completely different much faster than we were used to during the change of our language.
We don’t know the story, because it’s not even certain that someone has already written it. The arrangement, the reading, ours is the other’s, begins to concretize the situation at the same time and at the same time realizes an impossibility. Anyone can approach the set table and this situation can be any of the first occasions. With acquaintances, strangers, intentional or accidental, knew or imagined. As a result of causality, an edited narrative begins to emerge, but as soon as we think we are “hearing” articulated readings, the whole process stops. Any of the first occasions, they are formed under the influence of many recollections. We involuntarily build a context for any of the modifier words. We add and take away. We become doers. We start specific processes, which will have spectacular results, we create mental rearrangements that generate independent periods of meaning. Our “stories” can become both performative and descriptive. Reorders can use or delete other people’s readings. The temporal definition of the work, through the practice of new and new recall and reconstruction, means a state of constant change. Oxymorons can be born and we can get into a paradoxical situation even without statements. Our temporal interpretations are realized in the measurement of action, which is not sufficient to make statements. Fragments of hypothetical sentences are born and stories turn into explanations. In this process, the entropy of yeast shows a constant movement.
