by André de Sá Moreira

Andros Dresamore i takes over the public bench. His body leans into an impossible position: his back pressed against the seat, his legs in the air, leaning on the backrest. The music of Forrest Gump adds an absurd tenderness to the scene, as if this momentary imbalance reveals a hidden truth about waiting for the bus. It is no longer a bench, but an ephemeral and shaky pedestal. It is no longer a man, but a body suspended between falling and resting, between life and death.

He has inverted the bench, or perhaps the world. A simple bodily inversion reveals how standardized public space is. Lying down, turned upside down, he becomes a body suspended in his own everyday setting.