If we were to close our eyes and imagine a festival—each person's ideal festival—besides the stage, the image that probably comes to mind is that of a crowd. Not a static one, of course, but one that is constantly shifting and entropic. If our virtual zoom zooms in further, I think the body part that appears to all of us in this induced image is most likely the head. The head, of course, is also moving—up and down, right and left; rotating; dreamy and motionless, like Ophelia on the water, or the melancholic shoegaze of the grunge years of the 1990s; and many other positions. So why not an exhibition proposal that, rather than mimicking the same precepts of cultural studies or the elitist-aesthetic pretensions of distancing oneself from the old world, functions exactly like this: structuralist, starting from the head and its movement in space – that is, from an analytical choreography of perception and the act of looking. Why not, instead of a title, suggest only the three axes of the direction of the gaze? Edmund Husserl is credited with the idea of the body as not just a physical object, but the fundamental "zero point" of orientation of our experience of the world – an idea later developed by that apostle of structuralism, of the body and perception, Maurice Merleau-Ponty. A point that T. S. Eliot seems to describe in an immense and intense moment of clarity and apophany simultaneously, through the verses: "At the still point of the turning world. Neither flesh nor fleshless. Neither from nor towards; at the still point, there the dance is”