Platea, 1975

The project was conceived for the group show “A proposito del Mulino Stucky”, centred around the debate concerning the possible restoration of the abandoned architectural complex.
The work comprised a group of thirty chairs (equal to the number of participating artists) arranged in a room indoors in the shape of an "audience" facing a screen, at the centre of which was the following text by the artist. "The project focuses on the idea that the current request to use the building cannot achieve a definitive answer, and that the space in question experiences this research as its perennial destiny. The first proof of this form of interpretation is that the competition underway does not presume to indicate other proposals unless they are the traces of its very evolution. The project involves the use of thirty chairs (so-called director's chairs) each of which distinguished by the name of the individual participants or the invited groups, arranged each for an indefinite period of time in the various rooms, outside, along the surrounding lagoon. Other parallel and successive interventions can constitute the material itself from which the new 'museum' will draw ongoing queries as concerns its own existence in terms of structure and function.”1
The same theme was also formulated in two other versions, executed in 1977 and 1978 (GPO-0348, GPO-0378).

1 G. Paolini in A proposito del Mulino Stucky, exhibition catalogue, Venice, Magazzini del Sale alle Zattere (Venice: Edizioni La Biennale di Venezia, 1975), p. 90.