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The original function of these elements we observe is to replace sculptures.
Some objects are used to determine the position of certain actors and parts on the film set, marking these positions during filming, the final elements of the scene are then
added afterwards. Similarly, these elements are placed with the function of marking a precise space within the gallery, ideally indicating the position of a work that has yet
to be placed. They are eventually replaced.
A temporary replacement.
The artist places this sculpture in a new site, or at least in a new room before it has been publicly exhibited for the first time; this operation can therefore be compared to
that of installation artists who also mark a specific place in an exhibition by placing their works there, to give them visibility and importance in relation to other works and
contexts. These sculptural places have no particular significance outside the exhibition itself: they exist only as part of this event to which they are usually linked.

The work is thus always placed differently from where we expect it to be, in front of us: as if it had suddenly appeared on the gallery floor, and we had not yet seen it
properly – in short, as if it were an apparition (as happens in some dreams when we do not see clearly what is coming towards us, and our mind’s eye tries to anticipate it).
In this way, the artist seems to wonder whether he really has to show his sculpture here.
We ask ourselves how this strange ‘thing’ got there, and whether we are obliged to consider it as sculpture because it certainly appears as such to anyone who looks at it
closely enough – or whether we can ignore it as something completely ordinary, a piece of rubbish that could be thrown away without a second thought, as so many other works
of art in our world do every day that appear totally meaningless to us? It would seem that in the case of the installation on display above, the answer to these questions
is more than obvious and that any viewer will immediately know what is meant, but I must admit that it took me a few minutes to understand the meaning of the title and the
concept behind the entire work.

Is the exhibition over, or perhaps it has yet to begin?
These Xs on the floor claim to ‘mark’ a precise space within the gallery, ideally indicating the location of a work that has yet to be placed. This ‘marking’ would indeed
seem to serve as an invitation for the viewer to contemplate the sculptural qualities of the absent object and to consider the relationships between them, rather than simply
being guided to an arbitrary location, with no particular interest in the individual works themselves other than their relative position in space (which may well have changed
since their initial installation). In this way, ‘marking’ acts as a reminder of the importance of the viewer’s interaction with the artwork.

These sculptures thus also take on a functional role, assuming by their presence an exhibition with elements that could have been there. The works thus not only draw a meaning
for exhibitions, but also comment on the events they were meant to commemorate, and the way memory is preserved becomes through the presence (or absence) of a sculpture.

So what does it mean to place an object?
Tracing the contours of something within an undefined space often raises questions about the relationship between inside and outside.
I am looking for ‘something’.

What is ‘something’?
Is it a noun or a verb? Does it have a gender? Is it singular, plural or collective?
If it is a verb, what tense is used: past, present, future, conditional, etc.? If it is a noun, what kind of noun is it? Is it abstract or concrete? Is it an object or a place?

What is the difference between position, placement and arrangement?

Francesco De Prezzo  Francesco De Prezzo

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