Red Bag articulates a quietly radical proposition: that an ordinary object, persistently mobilised, can operate as a sculptural and conceptual infrastructure for relational, spatial and affective experience. The bag is neither a prop nor a symbol in the conventional sense; it is a positional fixer, a chromatic anchor that punctuates an otherwise unstable sequence of geographies, encounters and atmospheres. Carried through Madrid, Málaga, Athens, Uddebo, Lagos and peripheral sites such as Correns or Cittanova, the bag becomes a low-tech device for indexing presence, turning everyday mobility into a durational artwork. In this sense, Red Bag belongs to a lineage that runs from Beuys’ “social sculpture” to the post-conceptual dérive, yet it refuses the grandiloquence often associated with those genealogies. Its material modesty is its critical strength.
