NaOH occupies the ephemeral and ambiguous space of the threshold, exploring it in all the potential temporal dimensions, from the abandonment of the original condition to the attainment of a new form. 

The exhibition space is pervaded by an intense smell of Marseille soap which immediately calls to mind a familiar, intimate but essentially western smell linked to washing. The first room contains a series of zinc plates which are treated like a skin in need of washing, recording, through subsequent immersions in the soap and then in acid, the rubbing and attempts at corrosion of the surface of the material, in an attempt to bring the physical and social body back to a state of docility. Engraving becomes a tool for leaving a trace of the repetition of the automatic gesture and the accumulation of time in the performative act. After being exalted by the choice of metal, the body expresses itself through its absence in subsequent operations where the object has the upper hand. What is usually consumed or worn out through use is fixed forever in bronze sculptures: a bar of soap, a toothbrush, underwear, the bottoms of the typical tracksuits found in all the initial reception kits have the power to educate the body to be disciplined and to accompany it in the transition from the previous identity to the acceptance of a new social code. Nevertheless, the exhibition concludes with an opening towards an identity, restrained by the rhythm of our gestures, (with a transition from the body to the soul), which always differ from each other, symbolized in the video by the performance of a body drummer who interprets several actions linked to personal hygiene in a completely free manner.