In this video work, the gallery becomes a stage for a performative gesture in which its owners transform the exhibition space into a working environment. They inhabit it, following the rhythm of office routines—sitting at desks, typing on keyboards, making phone calls. This is not a reconstruction but a subtle shift in context, where familiar behavior acquires a new status and office mechanics gain artistic autonomy.

The installation includes four screens displaying different aspects of office life. Their rhythm overlays the real action, creating a sense of duality—presence and media representation coexist within the same space. The office furniture left in the gallery reinforces the ambiguity of the situation: the gallery remains a gallery, yet its code is no longer read unambiguously. Here, one might draw a parallel with Guy Debord’s reflections on the spectacle, where the boundary between reality and its representation becomes increasingly blurred.

The large glass windows turn this liminal state into a public spectacle. Passersby become involuntary witnesses, but who stands before them—employees or artists? A process or its reenactment? The work raises questions about the boundaries of institutional identity, the role of the observer, and the moment when everyday life becomes a gesture.

2024