Commerciale, taking the form of a still sequence shot, could at first sight be mistaken for video surveillance footage of the entrance to a shopping centre. People walk in and out, pushing the glass panels of the revolving door of one of these temples of consumption that invade every suburban area worldwide. Alone, in couples, wandering past or rushing in, trolleys empty or full, mothers and children, hundreds of people push this revolving door day in, day out in an unrelenting and dizzying ballet. The effects of superimposition and transparency applied to the video heighten this sensation of a ghostly, indifferent and endless flow.

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