Diego Bianchi ThéâtrEErreuR

Theatre is an optical device. From the stalls to the stage, a mechanism takes hold. It locks bodies in place, directs the gaze, stabilizes its trajectory. But theatre is also a belief system — without it, such physical arrangements couldn’t hold. The terms of the contract are simple: one must have faith in fiction.

For this exhibition at galerie Jocelyn Wolff, Diego Bianchi takes on the role of playwright. From room to room, he structures the space through a series of eclectic scenes — in a box or on a shelf are placed a tangerine, an egg, a door handle, a dried leaf, a finger... Each of these capsules form a miniature theatre where time has been stretched. Frozen in the instant of a “frame”, the scene’s progression is interrupted, the narrative broken down. In this suspension, our gaze adjusts, and previously unnoticed elements come to light. It takes these minimal gestures to make the world sway, to slow its motion, to make it wobble between reality and fiction.

This vibration of reality unfolds a different temporality — that of an exalted present, where nascent waste, useless tools, overlooked objects, all the residue of matter regains dignity. Among all this, the visitor is an equal. Immersed in this atmosphere, the observer becomes the observed, this inversion disorients us.

Discomfort keeps us alert; an intuition sets in: the scene continues off-stage. It wasn’t meant for us. This error opens a breach; it welcomes the unexpected, and control slips away. We must come to terms with this loss. Space is freed up, making room for a place where taboos, intimacy, and eroticism take up residence.

At the end of a residency at the Cité internationale des arts in Paris, ThéâtrEErreuR will open its doors from May 24 to July 19, 2025. On the occasion of its opening and the Paris Gallery Weekend, the gallery will host a series of performances on May 24 and 25.

Through his work—rooted primarily in the field of sculpture — Diego Bianchi (Buenos Aires, 1969) explores the dissection of a poetic form of the everyday, celebrating disorder, absurdity, and social entropy.

Recent exhibitions include: CORPO-CASA, Pivô, São Paulo (2024); Táctica Sintáctica, Marres, Maastricht (2024); Syntactic Tactic, Centro de Arte Dos de Mayo, Madrid (2022); the 2021 Performance Biennial (BP.21), Museo Nacional de Bellas Artes, Buenos Aires; and The Stomach and the Port, 11th Liverpool Biennial, United Kingdom (2020).