“At first glance, a humble kiosk trembling with images and information. Visitors begin to line up to receive their hot dog, to take part in the happening, and to obtain their fraction of the artwork. On the other side of the counter, the artist is present: ‘Free hot dogs for the first 99 visitors of the day,’ as stated on a hand-painted sign.

The Hot Dog Station produces social situations as much as images. Each hot dog is wrapped in a risographic print, a fragile skin of paper and ink that becomes randomly stained with mustard and ketchup. ‘Stains are events,’ Paul Klee whispers: small colored fictions, born from contact and chance, complete the printed image and create a unique, non-reproducible work. The Hot Dog Station is a factory of relationships, where each interaction leaves a trace.

Containers become contents; the edible becomes the matrix of the inedible. A cheap hot dog, a pop icon as universal as it is ridiculous, reveals itself as a tool for social interaction. It floats in the imagination like Claes Oldenburg’s buns or Dieter Roth’s work tables, suspended between the perishable and the eternal.

Here, an inversion of values takes place: what is meant to disappear becomes what remains; what should be thrown away becomes what matters. Each visitor is confronted with their own decision: should the hot dog be eaten or preserved? Should the stained paper be discarded or taken home and added to one’s collection?”

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