The exhibition views the image not as an isolated unit, but as the result of repetitions, variations, and processes of transmission. Based on this premise, it brings together works that demonstrate how a form can be perceived as stable or definitive when, in reality, it arises from a series of material and visual operations.

The archive is not presented as a repository, but rather as a relational structure that allows us to see differences, correspondences, and transformations between works. When arranged in a series, the images reveal the processes that produce them.

Among the pieces on display are painted epitaphs that mimic carved inscriptions and shift the solemnity of funerals toward humor and irony (…).

The project explores the production of images and the ways in which a form is constituted, transformed, and ultimately becomes legible.