“Indeed the redundancy of the image and the use of the loop make us face the complex problem of a crash of language, a paradoxical stasis. … The crash is imaged through its lexical field and a collage of the sounds it would produce; the lack of syntax and punctuation also signals a glitch, an accident in linearity.”



“This rather sinister take on labyrinths as circular, unending games recalls Raymond Roussel’s Locus Solus (1914) and the vagaries of its protagonists through crypts, cellars and gardens; the non-descript soldier of Alain Robbe-Grillet’s In the Labyrinth (1959), eternally wandering through a non-descript city with no landmarks, where everything looks the same and things repeat endlessly – just like Italo Calvino’s Pentesilea, an heterotopic city contemporary with Aldo Rossi’s project; or the nightmare Ideal and No-Stop cities of Superstudio and Archizoom. In such works, the labyrinth is the sum of all heterotopias, the representation of ‘Pirandellian uprooting,’ of ‘estrangement from the real’ and dislocation. As much as the labyrinth is an estranged, claustrophobic space, however, it can also accommodate the opposite of claustrophobia: claustrophilia.”