One of the primary aims of The Golden Chamber was showing this link between works and space, and not so much through an updated reappraisal of fundamental concepts such as site or non-site, or in a resolve to apply an alternate perspective to the contemplation of the eternal question of the installation, but recalling rather certain mechanisms put into circulation on the basis of Beuysian paradigms, above all those relating to his celebrated idea of the terremoto in palazzo, manifested as a kind of extraordinary and unrepeatable screen effect that converts and transforms memory and vestige into axes that will reveal themselves as fundamental to our approach to these works, beyond their material or technical particularities, beyond their disciplinary conditions and overs tepping any possible categorical limitations: the work with the painted image, the three-dimensional illusions given off by certain sculptural pieces, the change in the very idea of sculpture - sizes, proportions, locations-, the deferred mediatic link with a specific social context, or the formal caving - in of the margins of the discipline itself. (Manel Clot)
