Sentences can always be translated into other sentences, and translations often evolve into new translations. ‘Cavazaque Piu Piu’ is such a case, put forward by Francisco Moura, a steam-machine operator from Seixal. Partly an expression of nonsense, partly an anecdote relating to naming misunderstandings, it is both a gift and and a curse in the quest for meaning. As an installation, ‘Cavazaque Piu Piu’ gathers a group of painted fibreglass sculptures, lit by a synchronised lighting system, alongside a recorded monologue in which one voice splits into several characters. Played as a speculative praise of smell as a deviant methodology for knowledge, the soundtrack, titled ‘For a history of smells’, is thus performed across a set of sculptures which, one by one, incorporate the speech as their own. With an exaggerated and playful approach, ‘Cavazaque Piu Piu’ conjures a warning about knowledge-making with a deviant animal/direct/amateur attitude.