In David Douard’s work, texts, poems, sounds, music and images collected from the Internet or taken from popular media culture are subsequently manipulated, digested and transformed to form the lifeblood of his sculptures, films and installations. The result is hybrid, impure, deviated environments, infected with new narrative germs that overlap with the real world, profoundly transforming it. The virtual and only apparently neutral space of new technologies is thus reinterpreted as an unprecedented repertoire of poetic fragments, capable of assuming unexpected forms in the context of the work and of turning into something eminently subjective thanks to the détournement employed by the artist. In Belgrade, the space occupied by Douard’s installation breaks directly into the exhibition path, influencing the rhythmicity of the architecture and altering the spatial coordinates through false walls, passages, shortcuts and the reactivation of several elements of previous installations. The works almost seem to escape the gaze, reverberating in the context in which they have fallen, enriched with new elements—a refined combination of everyday found objects which are interpreted by the artist in a scenic and architectural sense.