1. Occupy w.c. is a space for the free expression of ideas.
2. Occupy w.c. is an artistic project that does not pursue any profit and intentionally remains disconnected from any business logic.
3. The performances proposed by Occupy w.c. define a creative space that is free, accessible, and democratic.
4. Occupy w.c. narrates reality with ironic, sometimes provocative, and possibly divergent spirit.
5. Occupy w.c. performances are created starting from public toilets to expand, in a kind of counterpoint, into the virtual space of the Internet.
5.1. The public toilet is metaphorically and paradoxically a cleaner place than many other public spaces.
5.2. The public toilet is an unconventional space for creative intervention and therefore ideal for triggering reactions, stimulating curiosity, surprising, entertaining, questioning, and provoking dialogue.
5.3. The artistic occupation of public toilets aims to overturn their functional perspective without altering their structure, respecting those who manage them.
5.4. Occupy w.c. occupies public toilets through the installation of artistic objects, the toilet paper.
5.5. Each toilet paper redirects, through a QR code, to the website http://www.occupywc.org where other images, texts, and videos complement the performances.
5.6. Installations by Occupy w.c. occur both in collaboration with institutions and guerrilla-style.
5.7. Images of toilet papers serve as advertising banners. Their sole purpose is to lead visitors to the contents proposed in the physical and virtual spaces of the performances.
6. What happens in Occupy w.c. is carried out by performers from all parts of the world with diverse professional and cultural experiences.
6.1. The intervention mode in locations chosen by Occupy w.c. is that of the flashmob (widespread).
6.2. Occupy w.c. has intervened in the following locations: Venice (Biennale Arte), Paris (Palais de Tokyo), London (Tate Modern), Madrid (Reina Sofia), Milan (Palazzo Reale), Cagliari (Teatro Massimo), New York (MoMA).
6.3. Performances realized in these years include: Fuck Fundamentals (2014), Everyone has got their reasons (2016), Nudo di donna 2.0 (2017), Souverainism (2019), Yo soy el tiempo (2022).
7. The tragedy of life is that everyone has their reasons