This site-specific installation* approaches the theme of labor through the meaning of Sundays - the day when activities are supposedly quieter, slower and more relaxing, the day family and friends come to visit or the day when things have to be out of the ordinary and fun. It’s still a day of work for others, imposed or desired, those whose job it is to care for others, to do domestic work and to offer entertainment services.

The Day of the Week after Saturday and before Monday proposes a soft play with the attention span in domestic space. It’s composed of elements evoking the life on my family farm and the world of my parents’ kitchen - the central room of the house that doubles as a living room; television makes its presence felt by being switched on almost constantly throughout the day. On Sundays, it broadcasts religious channels on public television in the morning and sports channels in the afternoon. Opposite it, the wooden table is protected by a plastic tablecloth, ready to receive the various dishes prepared by my mother. The kitchen has 2 entrances, each with a separate doorbell, that regularly rings when they try to take a nap in their armchairs. These elements have been distorted, amplified or, as in the case of the video montage, queered.

The footage for the video montage was collected from various online sources, focusing on the representation of LGBTQA+ icons, female or non-binary athletes or runners. The selection and editing process was a way of queering the footage to make the sports channels look like I would have wanted them to look as a queer person growing up in the country.

The Day of the Week after Saturday and before Monday features a sound piece. It’s composed of two asynchronous clocks hung on opposite walls, the sound of their hands has been amplified. One of the clocks chimes every hour with the song of a new bird. The atmosphere is as if the room were empty and silence reigned, interrupted only by the sound of seconds ticking away and the heaviness of time passing.