The transfer of the works from the collection rooms to the garage is an interesting exhibition exercise. These are chosen within a space strongly characterized by furnishings and the presence of other works; as soon as it is inserted in the white space of the garage, the artifact is instead isolated and needs a foothold to find new vitality. In fact, nothing is born to stand alone, we always think about things and in any case in relation to other things. \n Enej Gala's netsuke and puppets were chosen to be two subsequent appointments, already imagining a common exhibition support. An L-bent iron bar, first stopped on the ground with a weight and then fixed to the wall, becomes the connection point between the work and the garage, both eager to preserve their aesthetic independence. The space that the work needs in order to be able to communicate itself conflicts with the space that the garage needs to reveal itself as an aesthetic object in itself. \n Gala's Acquaintances are thus suspended from the iron rod, almost ready to be used and told to the world. One, however, is placed in a corner on the floor, to emphasize that in the sacred and impenetrable space of the garage, a sort of contemporary naos, the floor is already a pedestal. And if in the rooms of the collection, the puppets find their place in the chapel, a room that by its nature is sheltered from the eyes of the world, here they return to their original condition, face the street, ready again to tell the spectacle of the world in a brazen and impertinent way.
