Contemporary Art Space Research Articles

The Human Condition in the 21st Century: Body and Architectural Space in Contemporary Art

Architectural practices that sustain economic power structures often overlook the complexity of place, prioritizing rationality and utility for funding while perpetuating issues like climate crises and income inequality. In contrast, art offers critical perspectives unconstrained by immediate practicality. This research examines how contemporary artists understand and create space to reach a spatial design approach that activates subjects and fosters new connections between humans and non-humans. In the scope of this research, seven contemporary artists who produce artworks related to either the body or space have been chosen. The discourses of artists exploring the body-space relationships serve as primary sources. Two methods are employed: logical argumentation and analysis by analogy. The latter involves visualizing the analysis of textual discourses through messy word maps to extract insights from artists’ concepts and tactics. “Artist topographies” contribute to a collective “cognitive topography,” revealing commonalities around themes of exploitation, oppression, profit, borders, otherness, agency, and complexity. The conclusion presents suggestions for an alternative spatial design approach based on the discourses and cognitive topography.

ARTIFICIAL INTELLIGENCE IN CONTEMPORARY VISUALITY

The new discourses in the contemporary art space and in the art education field regarding artificial intelligence are a consequence of a major mutation in the paradigm of contemporary art. Starting from the visual forms generated by artificial intelligence as a creative-technological instance, the current research aims to discuss the reconsideration of the human contribution in the authorial legitimation of art. The author, the lecturer, the systemic process of communication specific to art, all other instances and relationships submit to the effort to incorporate a tool of knowledge that goes beyond the traditional functionality of a passive resource, migrating to forms of active autonomy. We are witnessing the revolutionizing of the dialogue between creative technologies and the world of art, in which active instances systematically reinvent themselves, eluding the specific quantification of information technologies specific to the artistic field.

헤테로토피아로서의 현대미술과 전시 공간

The purpose of this paper is to understand that ‘experimental Heterotopia’ is the spatial singularity of contemporary art based on Foucault's ‘Heterotopia’. The Panopticon, a surveillance and discipline system, developed into an exhibition space, the White Cube. However, Heterotopia subverts the white cube and acts as a void in utopia. Heterotopic art is art as a ‘different space’ that deviates from regulations, subverts the system, and accepts all heterogeneous aspects. If ‘heterotopic art escaped from the panoptic white cube’ embodies a space that subverts the existing norms, ‘other space of contemporary art’ can be said to express Heterotopia as the heterogeneous appearance of art. Accordingly, the spatial characteristics of contemporary art are defined by Heterotopia is analyzed through the works of Duchamp and Eliasson to reveal that heterotopia forms an experiential relationship with the audience.

Official and informal professional associations of artists in the contemporary art space of Russia and China

The article presents an analysis of the activities of formal and informal art associations in the space of contemporary art in Russia and China. The two countries actively cooperate in the field of art, including at the institutional level, which actualizes the appeal to the work of existing creative unions. The object of attention in the framework of the study is the modern art associations of the two countries, and the subject is the relationship between the structure and activities of official and informal art associations of China and Russia. The aim is to analyze the features of the activity of art associations in the conditions of the modern art space of their countries. The analysis of the state and directions of development of both official structures and informal art groups is carried out. The former in both Russia and China, as a rule, are the continuers of the traditions of the former structures, but the original function of the guide of the political course of the leadership of the countries in them remained at different levels, mostly decreasing. The latter are communities of artists who unite by creative interests or around a common exhibition space for them, in particular galleries. Moreover, both forms successfully exist in both states, reflecting the trends of artistic life and at the same time influencing it.

GENERATIVE PRACTICES IN CREATIVE INDUSTRIES: THE PHYGITAL ASPECT OF ARTISTIC DESIGN

The concept of phygital (from the words "physical" and "digital"), as the name implies, involves the synthesis of physical and digital components. This concept originated in the field of marketing; however, today it is increasingly used in various fields of science, including art history, and reflects a new trend in the world of art and design when the boundaries between offline and online environments are blurred. Earlier, the Internet was used mainly as a tool for promotion and communication, whereas in recent years the virtual and the real are beginning to interact more closely. The transformation of the virtual into the real and vice versa is becoming one of the key areas of contemporary art; more and more works exist "at the junction" of artistic expression and design solutions. In this regard, researchers of modern culture and art are faced with a number of questions about the nature and aesthetic potential of phygital. The purpose of this study was to analyse a number of representative projects of creative industries created at the intersection of analog and digital representation, to identify their specifics and expressive possibilities, as well as to clarify the specifics of image transformation during online-offline transgression. The results of the study revealed that today a special place in the field of phygital projects is occupied by works made by designers and artists using generative models. This is facilitated by the active development of machine learning. In particular, we are talking about artificial intelligence and its capabilities, which have recently become the focus of attention of artists, designers, and researchers of contemporary art. In 2019, the work Neural Street Art appeared on the wall of a multi-storey building in Yekaterinburg (Popova St., 9). With the help of machine algorithms, a mosaic, created by an artist in the 4th century AD to decorate the Spanish villa La Olmeda, was recreated. The image was applied to the building by a robot printer developed by the STENOGRAFFIFA creative team. The work of a “distributed author”, a meta-author [6] according to P.Galanter (an unknown artist of the Flavian era, the Yandex neural network, a robot-printer, creative teams that made the corresponding technologies and software), raises questions about the connection between digital and physical and the prospects of a generative human - machine creativity. Increasingly, representatives of creative industries are using neural networks to create works: for example, Scott Eaton demonstrated sculptures created “in collaboration” with AI at the Artist + AI: Figures and Forms exhibition, in particular, the bronze Human Allocation of Space (2019). At the same time, digital copies of their works are often created for artists using NFT technologies. For example, Filipino artist Bjorn Calleja, known for his NFT projects, creates tiny sculptures of his animated characters and then digitises them again as NFT tokens (in .glb format for 3D models). More and more works of artists and designers created with the help of neural networks (GAN - generative-adversarial neural network, CAN - creative-adversarial neural network) acquire not just a physical but a phygital embodiment. This is not only about "twinning", i.e. NFT twins of physical copies of objects, but about hybrid works and installations that exist simultaneously in digital and physical spaces. Thus, we came to the conclusion about the special role of artificial intelligence in modern phygital projects in creative industries, as well as the importance of the development of virtual and augmented reality as a space for the existence of works of this type. This study outlines the advantages of the phygital format for the designer's work, as well as the expressive possibilities of online-offline transition in the space of contemporary art, classifies art spaces at the intersection of physical and digital, features phygital as a means of communication relevant to today's visual culture.

Transacting the Modern in the Works of Segun Aiyesan, a Self-Taught Nigerian Artist

Despite the embodied presence of self-taught art in Nigeria’s contemporary art space, the contributions made by self-taught artists in advancing the modernist landscape of contemporary art in Nigeria have remained largely understudied. Employing historiography and stylistic analyses, this article examines the modernist affirmations in the art of Segun Aiyesan, a self-taught Nigerian artist. It traces his artistic development as well as the various factors that influenced and shaped the modernist sensibilities evident in his art. Situating the discourse within the idiosyncrasies of Nigerian and Western art traditions, the study highlights how Aiyesan’s eclectic and experimental approach to art, in conjunction with the his effectual application of artistic talent and imagination, enabled him transact his own brand of modernism, and how its stylistic and aesthetic registers offer a deeper understanding ot the multifarious landscape of modern Nigerian art. Key attributes that frame Aiyesan’s art practice include the use of unconventional painting formats, multiple engagements of a particular subject matter using diverse compositional frameworks, and the continuous re-appraisal and re-invention of formal language. Thus, his art is very dynamic, expressive and constantly evolving.

The Meaning of Home in the Process of Change: Home in the Transfiguration of the Ordinary

The concept of home, which can be discussed in many disciplines, is one of the important elements in the representation of shelter, belonging, asylum, security, peace, identity or it has become a phenomenon that is constantly traced in different disciplines over time, with the negative and contradictory states and phenomena of all these situations. The audience has become a powerful language and a mode of production within the object-space relations. Man attributes different meanings to the house that contains his own existence in his world. The house is not only a concrete building, a phenomenon that includes the usual housing function, but in this study, it is aimed to reveal the meanings in the phenomenological perspective of different disciplines that ascribe different meanings to the house. In this context, the objectification of the house by transforming into a mass communication tool with modernity, and the concept of the house during the research, first of all, briefly discussed with its phenomenological dimension, various thoughts on the house and space are included. To position the house, which has become an object of modernity, as an object space in contemporary art; It has been tried to reveal the perception methods that artists such as Petrit Halilaj, Louis Bourgeois, Gordon Matta-Clark Nevin Aladağ and Maider Lopez brought their own phenomenological approaches to home.

Post-Medium Condition in graphic series of 2015–2021 by Nikita Alekseev

The article is dedicated to such phenomenon as transformation of the “thing” in post-medium condition of contemporary art space based on the graphic series of 2015–2021 by Nikita Alekseev that can be called “Dying drawings”. A brief overview of the “thing” transition from an object to performativity in the art of the XXth century through Rosalind Krauss theory is given. Seriality, fiction and documentation became the main existential factors for the art objects in post-medium era. The way graphic drawings possess simultaneously material and temporary properties is shown.

Our Land, Our People: A Reflection of Tibetan Buddhist Space in Contemporary Art

This article illustrates how a contemporary Tibetan artist disrupts expectations in the creation of his political art. Utilizing Robert Smithson’s dialogic of site and non-site, Tenzing Rigdol’s 2011 site-specific installation Our Land, Our People is interpreted as a reenactment of a culturally specific historical practice of moving space. This approach shares important similarities to historical cases in which physical spaces were relocated to and within Tibet, allowing for the application of 20th century theories arising in the spatial turn to contemporary Tibetan art.

Composer and Performance Cooperation as a Communicative System in Violin Art

The research relevance. Unfortunately, in our days we have no fundamental works that would explore the socio-communicative nature of art as a separate scientific problem. In this context, the communication between the composer and the performer has an extremely important, multilevel and responsible mission. Because the co-creation of two artists should be aimed not only at embodying the composer's idea and revealing the individuality of the performer but focused on the listener's perception (of course if two participants in musical communication expect the success of their work among the audience). Analysis of recent research and publications. Many scientists have addressed the problem of communication in various fields, in particular: Y. Habermas, V. Kashkin, A. Sokolov, F. Sharkov C. Kuli, Y. Kosenko, V. Vladimirov, V. Shirokov, M. Tarasova, O. Berehova, I. Savransky, N. Saprygina, T. Goncharenko, T. Traverse, L. Voevodina and many others. During the writing of the article were used the printed memoirs of prominent violinists and composers, in particular: L. Kogan, D. Oistrakh, J. Sigheti, G. Rozhdestvensky, S. Prokofiev, M. Skoryk, V. Runchak, etc., fragments from the exclusive interview of the modern Ukrainian violinist B. Pivnenko, which she gave to the author of the article. The scientific novelty. The scientific novelty is that in the article for the first time in Ukrainian musicology composer and performer co-creation in violin art appears as a communicative system in which both participants of communication equally influence the process of creating a musical composition. In this article you can find the materials that have not been published anywhere before – fragments of interviews with the famous modern Ukrainian violinist, the first performer of many compositions of modern composers Bohdana Pivnenko, about the communication of the composer and performer. The purpose of the article is to determine the composer's idea about the idea of a musical composition, its embodiment, sound and performance approach to the realization of the composer's idea, the disclosure of the content of the composition and the character of its images; to focus on the communicative side of composition and performance co-creation which is required by modern Ukrainian violin music. The methodology based on a set of complementary methods: theoretical, method of holistic analysis and comparative. Conclusions. The complication of the language of modern music today poses the new tasks for performers, requiring new expressiveness. In addition, this is where a special role given to the performer – to make clear the complex work for the listener. In this point of view, the relationship and interdependence between the composer and the performer becomes even more relevant. Further research of the communicative nature of composition and performance will provide a better understanding of its patterns and transformation in the contemporary art space.

Pivoting in the Time of COVID-19: An in-Depth Case Study at the Nexus of Food Insecurity, Resilience, System Re-Organizing, and Caring for the Community

According to the School Nutrition Association, nearly 100,000 schools serve free or reduced school lunches and breakfasts daily to approximately 34. 34 million students nationwide. However, as COVID-19 forced many schools to close, students who depended on the public schools to meet the majority of their nutritional needs faced an even larger battle with food insecurity. Recognizing this unmet need, and that food insecurity was intertwined with other needs within the community, the Crystal Bridges Museum of American Art and its satellite contemporary art space the Momentary, partnered with the Northwest Arkansas Food Bank and over 30 additional partner organizations to pivot their existing outreach services. In this case study, we identify lessons learned by Crystal Bridges that might be useful for other organizations who seek to foster meaningful engagement with the public, especially in times of crisis. Specifically, we focus on three main lessons: 1) how the museum created a plan to learn through the pivot in order to capture their own lessons, 2) how the members of the organization experienced a sense of coming together (congregation) during the pivot, and 3) how the organization planned to improve both internal and external communication.

Salvatore Sciarrino’s music at the Beethoven Festival in Bonn: actualization of the classical heritage in conteporary art projects

Problem statement. Contemporary art space creates special conditions for the functioning of the classical musical heritage. The principle of the classics, which results in the formation of certain ideas about the criteria of the “reference” work and the ways of interaction with it undergoes a radical transformation. The turn of the XX and XXI centuries became a time of experiments, including experimental dialogues of the contemporary artists with the classical artistic artifacts. The relevance of the study is due to the growing scientific interest in the specifics of the implementation of contemporary art projects. The scientific novelty of the article is connected with the attempt to analytically comprehend the process of actualization of classical musical works in the conditions of the modern artistic environment. Theoretical Background. In the context of our study, the views of P. Sloterdijk (1986) on the autonomy impossibility of the classical text and the study of U. Eco (1986), focused on the dynamism of the artistic universe of the postmodern era and the multiplicity of its possible interpretations, are recognized as the most essential. Objectives. The purpose of this study is to reveal the specifics of the actualization of classical heritage in contemporary art projects (based on “Quando ci risvegliamo” by S. Sciarrino, presented at the Beethoven Festival in Bonn, 2015). Results and Discussion. The specifics of creative rethinking of L. van Beethoven’s works, done by contemporary European composers (S. Sciarrino, H. Dufourt, V. Tarnopolsky, B. Lang, E. Poppe) during the European cycle of the Beethoven Festival (2015–2019) are analyzed. The content of the multi-layered work “Quando ci risvegliamo” by S. Sciarrino’s is revealed as it is caused by the allusions to Fantasia for piano, soloists, choir and orchestra Op. 80 by L. van Beethoven and the symbolic drama “Når vi døde vågner” (“When We Dead Awaken”) by H. Ibsen. The interaction between the texts takes place on a structural, symbolic and semantic levels. The space of silence on the imaginary border of sleep and awakening, modeled by S. Sciarrino in “Quando ci risvegliamo”, builds cross-cultural connotations, appealing at the same time to the work of the German composer and the Norwegian playwright. Conclusions. The conclusion on the actualization of the classical text in the conditions of the modern art environment at the expense of employment of other classical texts is made. It is noted that the appropriate level of cultural training and experience in perception of artistic texts, expected from the hypothetical recipients, should allow them to perceive the cultural and artistic connotations of the new work, which are included in the hypertext of postmodernism.

К ВОПРОСУ ОПРЕДЕЛЕНИЯ ГРАНИЦ ДОКУМЕНТАЛЬНОСТИ В СОВРЕМЕННЫХ ХУДОЖЕСТВЕННЫХ ПРАКТИКАХ: НА ПРИМЕРЕ АНАЛИЗА ФИЛЬМА ЭРИКА БОДЛЕРА "ПИСЬМА МАКСУ"

Document has become one of the key tools of modern artists when working with history and memory. The search for different ways of representing the past leads artists to explore their own family and personal archives as well as museums and historical archives. Thus, chronicles, family photos and letters found on flea markets turn into a material for contemporary artists. Within the artistic work documents get transformed, so the things that are not relevant for historians can become important for artists. Questions arise: what happens to documentary material in the space of contemporary art? What are the boundaries of documentary as part of artistic practice? In what situation does a document lose its status, and when a material unimportant for historians can be transformed into important source for exhibitions? Many artists address these questions when working with memory and history. This article focuses on the film “Letters to Max” by French artist and filmmaker Eric Baudelaire based on the correspondence with the former minister of Abkhazia Maxim Gvinjia. The specifics of Baudelaire’s work is in the juxtaposition of different types of documents: letters that Baudelaire and Gvinjia wrote to each other and video that Baudelaire shot during his travel to Abkhazia. Connection between different materials allows us to see how different dimensions of representation of the past correlate with each other.

Drawings and Traditional Ghanaian Adinkra Symbols: Proposal Drawings of Emmanuel Ofosu Kwateng Architectural Designs

Adinkra Symbols are multifaceted by virtue of proliferating of ideas and exploration springing up across its symbolism and philosophy. The proliferating of ideas and exploration of Adinkra symbolic motifs has to lead the symbols to be amalgamated into several disciplined in academics such as drawing. However, drawing now has liberated from the traditional sense of supporting other disciplines to a medium of expression now, for this proposal drawing studies. This study reviews recent drawings of Architectural Designs by Emmanuel Ofosu Kwateng, a 21 years of age student of the University of Education, Winneba which adopts drawing as a medium to explore the multifaceted of Adinkra symbols in his Architectural Designs. Showing Emmanuel Ofosu Kwateng experimentation of adapting Ashanti’s Adinkra symbols in Architectural Designs this paper investigates how traditional Ashanti’s Adinkra Symbols and its visual culture is restaged and detoured in contemporary art-space to create artworks that not only bear cultural identity but possesses qualities that define contemporary art in both drawing and Architecture. The results to this search show that the philosophy and visual studying of Ashanti Adinkra Symbol exist in hybrid nature that can be appropriate into several disciplines for multifaceted form in contemporary art since it enables the re-invention of Ashanti Adinkra symbol for rich visual culture in contemporary art practices and techniques. This appropriated version of Ashanti’s Adinkra symbols in an Architectural Designs situate Emmanuel Ofosu Kwateng practices into the minimalist approach to simplicity as the symbols already exist in simple forms. The proposal drawings conferred here explain the practices of contemporary art in the 21st century can refer to cultural philosophies and symbols to produce new visual forms of realities reflecting 21st-century artistic development. Keywords: Proposal drawing, Adinkra symbol, Studio practice, Architectural design, and Minimalism art. DOI: 10.7176/ADS/80-02 Publication date: January 31st 2020

Bioethical strategies in the context of bioart

The paper discusses topics such as bioart, in the perspective of a cultural phenomenon, present in contemporary Polish and world art. The space of contemporary art, which as a material of expression uses specialist knowledge in the field of bioengineering and tissue culture along with living material, has been a challenge for artists and analysts of art, culture, science and ethics for years. The activity of Eduardo Kac is recalled as well as the Polish bioartist, Karolina Żyniewicz. In her projects, the artist collaborates with scientists, building an interdisciplinary platform for the exchange of knowledge and experiences. These deliberations are supplemented with literature on bioethics: positions, opinions and other regulatory documents (The Committee for Bioethics PAS, the Council of Europe, CIOMS, UNESCO) in the context of non-medical and artistic activities.
 The paper is an attempt to find answers to questions about the way in which new bioethical regulations should be updated and formulated. What bioethical strategies should be taken in this historical moment of our time, where an artwork is both artistic and also strictly scientific?

Transforming Narratives: Reaction, Context and the Emerging (IM)-Possibilities of Social Discourse on Art in Cluj-Napoca

Abstract The aim of this article is to comprehend the register of existence and the developing of social art practices and discourses in Cluj-Napoca, citing the example of the contemporary art space The Paintbrush Factory, established in 2009. Analysing the operation mode/modus operandi of artists, curators, and cultural agents of Cluj-Napoca, I study the creative pattern based on reaction as a response to the undergoing changes within the socio-political environment of the city as well as those on a global scale. The wider expansion of the urban regeneration theory, that attributes an economic growth factor to culture (based on the existence of creative industries), persuades the local authorities to create a new narrative of a Cluj-Napoca based on the image of a creative city. The Paintbrush Factory is precisely the success story – with a grassroots background, and international standing – that Cluj-Napoca Town Hall needed to legitimise its new development project that sought to put the city on Europe’s map. This ambition of the authorities is reflected in the application for the title of European Cultural Capital 2021. The story of the Paintbrush Factory mirrors this precise transformation of the city, which sees the industrial production being replaced by symbolic production. During this process factories are literally replaced by IT firms and adjacent services, while The Paintbrush Factory that had benefited from a long-term rental of a factory space is eventually displaced in this massive gentrification course of the city.

RETHINKING AND PEDAGOGICAL POTENTIAL OF MODERN KINDS OF SPATIAL ART

The article deals with contemporary tendencies of sociocultural interaction of public art with the city space. The necessity of integrative educational approaches to the development of students’ visual culture and mastering the multivalence of art in the urban world is grounded. The main types of artistic practices in the urban environment are described, the social and aesthetic significance of art objects and the current tendencies of the design of architectural environment are determined. It is concluded that art is integrated into social life, influences the cultural identity of city, and determines the comfort of environment. The wide variety of artistic practices in the public city spaces is the content of the category “public art”, which combines aesthetic, socio-cultural and spiritual spheres. Rethinking the main categories of artistic creativity in public life requires the latest educational approaches to the development of students’ visual culture and mastering the multivalence of art in urban space. It is proposed to apply the integrative approach to the integrity of compositional perception of urban space, synthesis of analytical and sensual factors, understanding of current social and artistic tendencies.Mastering the possibilities of contemporary spatial art involves understanding of its conceptual principles, learning the common principles of artistic language and original design techniques of creating art city objects. Art objects are an important element of the aesthetics of the city’s architectural environment, they serve as a visual focus, are used for innovative cultural, educational and public projects. The installation is defined as the newest method of artistic composition, which uses three-dimensional objects designed to change the perception of space by humans. Contemporary art space is characterized by innovative experimental orientation that includes different areas of art.The social potential of spatial public art lies in providing the aesthetic and psychological comfort of being in urban environment, visual emphasizing its uniqueness, and developing a culture of communication with artistic objects.

System of Micrographics and the Visual Practice of the “New Wave”: To the Defi nition of the Principles of Contemporary Design

The paper is devoted to the study of the principles of micrographics in the artistic space and graphic design of the twentieth century. The article describes micrographics as an art phenomenon and considers it as an important element for the fi ne arts and graphics. The text studies principles of micrographic, which can be considered as an important component of the contemporary visual system. At the same time, micrographic elements defi ne the specifi cs of modern design. The article notes that micrographic principles are a common phenomenon in the visual systems throughout the 20th century. In addition, the article gives an attention to the typography and visual practice of the “New Wave” — the most important trend of graphic design in the second half of the 20th century. This phenomenon is considered as the central form of modern design whose specifi cs signifi cantly infl uenced the development of graphic design in general. At the same time, we observe the fact that the micrographic methods were important for the creation of the phenomenon of the “New Wave”. They correlate both: the visual system of the “New Wave” and the graphic program of modern graphic design. The article considers the main forms of micrographics, which were widely used in the system of “New Wave”. The author attempts to determine micrographics, and to give the characteristic of the “New Wave”. Micrographics is explored as a form in contemporary art space and as a system that had a signifi cant influence on the formation and development of the design in the twentieth century.

Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.