Exhibitions are situational institutions: temporary, porous, and unstable environments where works are activated rather than displayed. They function less as showcases than as expanded studios, laboratories where devices collide with broader publics and where the conventions of exhibition-making are dismantled. To exhibit here is to rehearse publics, rituals, and collective presence. At the Lagos Biennial 2024, Re-(t)exHile transformed 500 discarded garments into a textile pavilion, confronting the geopolitics of waste and staging debate, care, and performance. In the Guimarães Biennial 2024, Threads of Meaning reframed weaving as both intimate practice and political weapon, entangling craft with urgency. The Trienal Urbanas (I–V) unfolded across plazas and peripheries in Spain and Portugal, treating exhibition as urban rehearsal—of shade, resilience, and civic imagination. At Croatia’s Rigo Gallery and Rabbit Island’s Restoran Splendid, exhibition became cohabitation: shared meals, rotated authorships, and blurred lines between artwork and encounter. Solo and collective shows also carried this unstable ethos. In Madrid, LAPIEZA’s weekly mutations turned exhibition into continuous collective performance, where each new work erased and reconfigured the last. At ARCO Madrid, projects disrupted commodification with unstable furniture, participatory benches, and ephemeral light sculptures that refused permanence. What unites these contexts is the refusal to treat exhibitions as endpoints. They are points of passage, moments where works mutate through encounter and leave resonances that outlast the event. To exhibit here is less a noun than a verb: a practice of activation, rehearsal, and unfinished collectivity.
Re-(t)exHile (Lagos Biennial 2024) · Threads of Meaning (Guimarães Biennial 2024) · Trienal Urbanas I–V (2013–2023) · Restoran Splendid (Rabbit Island, 2019) · LAPIEZA Weekly Mutations (Madrid, 2009–2012).
