A flexible arrangement of Gardens where plants grow, plastic and ceramic objects appear, actions are traced and replicated by the artist in her performance that will take place at the gallery, on three consecutive evenings. A double no or a double yes, a strategy of reappropriation, homeopathic, synchronic, interminable.

The Gardens, modular wooden boxes with aromatic plants, scattered sculptures, and annexed benches, reference a site of the enclosure, a stage where actor and viewer are subsumed under narrative structures already formed. Yet, Sagri, in an attempt to override the tragic fall of social and political fantasies offers French philosopher Alain Badiou’s event of love -“romance as the material and embodied practice of producing wonder”- as a possible space for the production of truth.