Abstract
The paper considers subversive capacities of spaces in which art works are exhibited (museums, galleries) or spaces which they occupy (public spaces). This text is analyzing the spatial situations - interventions - artifacts coming from three different periods of time (Bernini's Ecstasy of Saint Teresa, the art practice of an American artist, Gordon Matta-Clark - precisely his 1975 work Day's End, and the work of a Columbian artist - Doris Salcedo's Shibboleth, exhibited in the Turbine Hall of the Tate Modern Gallery in 2008) and trying to determine their subversion values examining their real/actual/manifested subversion strength in relation to ideologically false or 'fake' subversions. And, finally, the main objective is to explore the subversion of these artworks in the hindsight of Freud's Das Unheimliche where he made a point that 'something is terrifying not because it is unfamiliar, but because something that was known to us somehow became strange and unfamiliar'.
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