It is with great appreciation that I announce the acquisition of Salon d’Amour by the Province of Tyrol for the Tyrolean State Collection, marking an important moment in my artistic practice.
The acquisition of Salon d’Amour also foregrounds the particular complexity of collecting a participatory and process-based performance work. Rather than constituting a closed or fixed object, the work exists through activation, interpretation, and embodied engagement, and unfolds differently in each spatial and institutional context. What is acquired is therefore not only a set of sculptural elements, but a relational framework: a constellation of material components, performative protocols, and embodied knowledge that must be continuously reactivated. This challenges traditional modes of collection, conservation, and display, and requires an institutional commitment to liveness, care, and contextual sensitivity.
The photographs taken by Anastasia Nefedova at my studio, offer a glimpse of these totem-like sculptural works that function as performance architecture. Spatial markers activated through movement, proximity, and time, strengthening the coherence between installation, performance, and materiality.
