Eva Funk’s proposition resemble a baseline situation. The scene of the scenario that could happen on a stage and seems to have just been rehearsed or will be. Nothing happens. To compose the scenery, Eva Funk uses elements which she draws from her repertoire. In her vocabulary are physical bodies, beings with their gestures and voices or objects sometimes with unidentified shapes, like sorts of amplified beans with protruding forms. Positioned in space, they are facing, touching each other or reposing on other items. They are the things to be supported and the supports themselves. Eva Funk also takes in the loop writing material, letters or graphic signs, which through repetition and the succession of semantic shifts would join the grammar of space.  The punctuation sign hyphen, for example, exploits in its German or French terms Bindestrich or trait d’union the primary function of connecting two independent words in order to build a more complex one. The union line might also act here to allow all elements to stick together all the while guaranteeing the integrity of their separated entities. They are transposed in the space into bodies of flesh to connect others and by fact relate to these others. Living and seemingly inert, all elements present in the scenery are marked by the potential of being animated and speak for the impermanence of things. They all seem to wait, in position, for something to happen, for the signal to move or to be manipulated. And so, the space becomes the matrix of a pluriform and plurilingual lexicon with infinite combinations. They are in a state of idleness and, as in full possession of their free will, they seem to wallow in this “doing nothing”. It starts. (MdP, Display)