The blanket, featured persistently across the Unstable Installation Series (2020–2024), operates not as an object but as a device of affect, circulation and performative presence. Stripped of its domestic singularity, it reappears across geographies—draped on chairs, hanging from walls, wrapped around bodies in winter landscapes or layered over furniture in modest interiors—accumulating narrative tension through repetition. This continuous activation resists aesthetic fixity, privileging gesture over monument, use over preservation. The blanket becomes a surface of interaction where time, bodies and context inscribe meaning, generating a fluid archive rooted in relational encounters and situated rituals. In each instance—Madrid theatre, Lagos gathering, mountain plateau or online meeting—the blanket adapts, yet remains formally constant, enabling continuity across volatile frames. It functions as a transitional object, triggering intimate responses, performing protection, disguise, familiarity. Its checked motif becomes a signature of presence, marking the intersection between body, action and site. The images suggest that the work is not the blanket itself, but the constellation of its uses and the affective relations it hosts. Rather than accumulating symbolic capital, the piece dissolves it into shared situations, rehearsals of tenderness, seasonal gestures and local acts of care. The project quietly challenges static notions of installation and authorship, proposing instead an ethics of artistic circulation grounded in vulnerability and everydayness. The blanket, in its modesty, becomes a vector for collective enunciation, a ritualised companion for ephemeral actions that fold into one another, forming a sustained polyphony of uses and disappearances.
Hardt, M. (1999) ‘Affective Labor’, boundary 2, 26(2), pp. 89–100.
Taylor, D. (2003) The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.
