Entering and visiting the exhibition space must be like being in a city built based on androcentric logic. The expographic elements, in addition to supporting the works, symbolize and reinforce, through physical experience, the contrasts explored as a narrative in the photographs and the tensions generated from them – light and dark, masculine and feminine, public and private. These elements are part of the infraordinary universe, they are banal, everyday, common: the bars and fences that separate places and bodies; the concrete and stone blocks that build cities and – sculpted – monuments.
The supports of the photographs bring linearity and verticality. The possible routes between the supports – on the contrary – are multiple, unpredictable and “indomesticable”. They break with the imposition of the exhibition space by detaching themselves from the walls to create, themselves, other planes of observation of the photographs, between and through.
The implementation of these elements in the exhibition space, as it approaches modernist planning – and therefore strongly influenced by the gender perspective – proposes an inverse movement to the linear, Cartesian and progressive one: to reach the end of the exhibition it is necessary to return through the same path. the way you came. The return presents another perspective, suggesting the dissolution of hegemonic historical-cultural constructions based on the idea of past, death and memory: cemetery of beliefs.