Far from being a trivial or purely functional object, the bag becomes a sculptural device within socioplastic practice—not as a container of things but as a carrier of relations, trajectories, and urban affects. Its lightness, foldability, and nomadic nature stand in stark contrast to traditional notions of sculpture as fixed, heavy, and stable. With the bag, volume is variable, form is contingent, and meaning is not imposed by closed authorship but emerges through use, transit, and shared circulation. Each bag moving through the city accumulates gestures, residues, invisible histories: it is no monument, yet it serves as a soft archive, a malleable witness to the tensions and connections shaping public space. Its precarity is not a limitation but rather its aesthetic and political condition—by refusing to stay in one place, it remains available for encounter, reinterpretation, and accident. As sculpture, the bag does not seek to assert itself but to blend in, to be affected by its surroundings, becoming a mobile threshold between art and the everyday. It proposes a way of being in the world through portability, tactility, and a minimalism that refuses to stand still—a practice that transforms the act of carrying into a civic choreography, where art is not something to be contemplated from afar but something to be dragged, held, passed from hand to hand.
