Swiss artist Fabrice Gygi creates site-specific installations, large-scale sculptures, and functional public-service devices that reference the often-unnoticed architecture and apparatuses of authority. In Gygi’s works, the form of stadiums, bleachers, crowd control barriers, podiums, tents, and public facilities are stripped of their civic utility and charged with an ambiguous purpose. Many of his works take on a dual quality, appearing at one moment as a meeting place, for example, and at another as a refugee camp. Skillfully appropriating materials? and instruments of order, Gygi’s works present a multilayered critique of authoritarian structures.