VIRGINIA DE DIEGO
DL.25.001

11.6 – 31.7.25

DL.25.001 M
Tissue paper confetti
Variable measures

DL.25.001 W
Confetti pieces, wall insertions
Variable measures

@ SP620, PORTO
PORTUGAL

[SHOP THE PROJECT]

1.
The movement of that mountain of prehistoric sand left traces, albeit minimal, in its wake. The only thing that, in this case, that mountain—under a precise magnifying glass—was revealed not to be sand, but confetti. Some of these volatile elements remained beneath the layer of lime and paint on the nearest vertical walls: the walls of a gallery. A trained eye, of course, is needed to perceive these subtle changes in the wall's surface. Several attempts were made to extract those tiny, volatile samples of confetti from the wall, failing in every case. Only the help of an expert archaeologist succeeded in bringing the adventure to a close.

2.
What is the time of the materiality of celebration? Isn't it, perhaps, an almost impossible fleeting time? At least, that of confetti: as soon as it begins, it ends. As soon as it is thrown—booom—it becomes a remnant. How can such a fragile relic be preserved?

3.
“Un rechazo a hacer una forma estática, o una escultura monolítica, a favor de una forma que desaparece, cambiante, inestable y frágil." Thank you, Félix.

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Within this project that is DORIAN LOCI, the minimal becomes primordial and the ephemeral, a vestige. This exhibition that inaugurates the project sets the tone, creating the monument to the ephemeral that is the motto of the entire project. A 2.5-ton mountain of confetti. The ethereal becoming sediment. On the sides, almost imperceptible, are the remains of the passage of this mobile mountain that, like a moving dune of confetti, left traces and remains on the gallery walls. The pieces, both: the mountain and each of the confetti fragments that will be found, embedded in the gallery walls. Both pieces are performative: the public will be able to purchase a remnant of the mountain, entering the chromatic hubbub and using a paper archaeological record to imprint the remains on the mountain, creating, with each step, a unique edition, although limited to 150 units. If one wishes to take one of the wall pieces, it will be an archaeologist who, through a scientific process of artifact recovery, will manage to remove the piece from the wall, transforming the ephemeral nature of the confetti piece into an archaeological vestige.

[1] Archaeological term

DL.25.001 W
Confetti pieces, wall insertions
Variable measures

DL.25.001 M
Tissue paper confetti (installation views)
Variable measures

The finissage was meant as both a questioning and a play. When does an object become garbage, a ruin? With confetti, perhaps the instant it touches the floor. Or as soon as it is thrown away. Was the 2.5-ton mountain already a ruin when installed—a landscape of waste, or of celebration? Together we ruined it further, landscaped it further: people jumped over it, through it, into it, throwing kilos of it at each other. What remained was a wreckage—or perhaps it had always been one—a literal end to the party. A collective experience on destruction as creation.

DL.25.001 M
Tissue paper confetti (finissage views)
Variable measures

📷 Virginia de Diego

DL.25.001 M
Tissue paper confetti (finissage views)
Variable measures

📷 Bruno Silva

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