The space at Florit/Florit is not a neutral container. It has never been.
Its floors, walls and shifts in rhythm have not been adjusted to accommodate the works. They remain active, with a presence that is not concealed. There is a resistance in the space, a way of being that does not align with conventional exhibition formats. The floor does not disappear; it insists. The architecture does not organise; it conditions. The space is not neutralised; it is taken as it is. A window still holds Peppa Pig stickers, a simple image whose meaning has shifted, introducing a point of friction that does not fully resolve. For that reason, it remains.
Within this context, Florit/Florit has developed its programme without relying on a unifying line. The gallery is structured through friction rather than coherence. Each work follows its own logic: surfaces that accumulate time, structures that organise the gaze, objects that occupy space without representing it.
The exhibition brings together all the gallery’s artists in a set that is not unified. Proximity does not imply agreement. The space becomes another element within the system. Its material, irregular and specific character intensifies the tensions between the works and requires each to assert itself without support.
The exhibition is conceived as an open configuration. Each element takes its place without fully resolving its relation to the others, a form of coexistence that does not seek stability, but precision.