MY LIMINAL SPACE IS: THE SUBWAY

Below Milan’s polished streets lies another city made of echoes, flickering lights, and strangers in motion. Between departures and arrivals, the subway becomes a space where time folds, and the self dissolves into movement. A fleeting threshold between what has been left behind and what has yet to arrive. Where the city shows its most authentic side, and so do we. 

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The Weight of Wanting to Become

We are creatures of thresholds craving permanence, yet our only constant is change. We long to arrive, yet the act of arriving empties the arrival of its meaning. Once the thing we awaited becomes ours, the waiting itself dissolves, and with it, a certain aliveness. Hence, we look again toward the next horizon, the next job, the next version of ourselves. As the queue advances, we step forward.

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The Menacing Immobility of Non-Belonging

In the liminal spaces between objectivity and subjectivity, art finds its pulse. This is where the invisible and the outcasts, like Henry Darger and Judith Scott, create, transforming isolation into invention. Darger’s hidden epic and Scott’s intricate sculptures speak louder than any words, bridging the gap between the worlds they inhabit and the one that ignores them.

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The Neglectable Absence of Substance

Nadja’s unanswered “Who am I?” echoes through Breton’s glove, Proust’s illusions, and Francesca Woodman’s fragile self-portraits. Between absence and desire, intimacy and disappearance, women shift from muse to ghost, from object to creator. In Woodman’s images, the unseen becomes visible, fragility gains presence, and absence itself is possessed.

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L’écho du néant

We spend our lives escaping silence, as if stillness were a void instead of a mirror. But the absence of sound is not emptiness — it’s the echo of a primordial stillness, a space where thought thrives and memory lingers, quietly untouched by the noise we’ve learned to need.

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Dupe Alert: Rethinking Creative Originality

When luxury goods and their counterfeit twins share the same production and manufacturers, authorship starts to look more like a tool for exclusion than a genuine marker of creative integrity. Maybe fakes aren’t that shocking, maybe they’re a reality check for self-important creatives and corporations, a reminder of what honest creation actually is.

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