The formal aspect of the works in Didier Faustino's first solo show at the Michel Rein gallery in Paris is impeccable. It is much more than a piece of his precise theoretical discourse linking different works and materials ranging from technology to crafts; it is the display of a kind of thinking that, on its own, can keep alive that 360° interest in the work of one of the most exciting and radical architects of the moment that has developed in the world of the visual arts. The energies deriving from performance or body art which changed conceptual artistic research, forcing it directly into the body of architecture, is reflected in his works, but never slavishly and never as a copy or cast. A process-oriented trend that, over time, has "contaminated" such giants as Vito Acconci or Chris Burden.

An echo of this work and experimentation is only a distant undertone in this "doing architecture with blood, hair, sweat and semen" which is also the "manifesto" phrase that has characterized the program of the Franco-Portuguese architect from the beginning of his art career. In the Paris show, we find, rather, tools and projects as well as some pieces summarizing his most recent ideas. Some constructions and typologies, while glimpsed in previous installations, bear witness to his persistence in claiming this discourse in absolute contiguity with architecture. This provides the public with not only a predefined principle of classification but also with a more general idea of moving through the world. Without a doubt, the work is to be read in a critical key in terms of what happens, rather, outside the spatial limit of the exhibition.