By spatializing this format, which originally holds only an editorial language, the project understood that it could expand the spatial qualities intended for both the images and texts, incorporating videos that conceptually dialogued with the themes explored in the notes and publications scattered around the exhibition room. The exhibition then included both videos referencing the punk universe in documentary and music video formats, as well as video art with approaches that, in some way, echoed the connotations expressed in the selected texts.
The Cabine project, being a network of artistic appropriations—both of these texts and the videos chosen to be shown in the same space—can therefore be understood as a curatorial action. It involved selecting aspects from each language that conceptually interlink, thus blurring the boundaries between artist and curator. It also works with the concept of contamination, as the languages intersect, and, most importantly, it creates within an institutional space a place for experimentation, aimed at flexibilizing the practices of museums and galleries, which are typically understood as spaces that tend toward a rigidification of the many forms of language.