As Yet Untitled (Triangulation), 2024 | plaster cast in plasterboard, 100x70 cm
Exhibition view "A Perpetual State of Flux" at Kunstverein Ve.Sch | Foto Martin Vesely
As Yet Untitled (Incision), 2024 | plaster cast in plasterboard, 100x70 cm
Spatial Patterns, 2024 | Collage, 60x50 cm
Excavation | plaster cast in plasterboard, 55x45cm, 2024 | Foto: Martin Vesely
As Yet Untitled (Incision) | Gipsguss in Rigipsplatte, ca.100x70cm2024 | Foto: Martin Vesely
A Perpetual State of Flux
first draft at Studio Offbeats | second draft at Kunstverein Ve.Sch.
Traces of the past are everywhere, etched into landscapes, urban environments, stones, and geological shifts. Mythological narratives weave around them, while excavation, display, and musealization make these remnants visible and preserve their legacy.
Under the title A Perpetual State of Flux, the project’s foundation for the body of work lies in my research and encounters of archaeological sites, symbols, spatial representations, assertions, cultural references, and narratives. The exhibition’s design is deeply influenced by archaeological display methods, which emphasize both the physicality and historical resonance of artifacts within space.
The plaster casts merged into the wall act as referential structures, The image as a reference to a real location begins to dissolve, intertwining with site-specific features and transforming into an experiential place. The image or trace inscribes itself within the space, dissolving the boundary between representation and reality. Through this dissolution, the image ceases to be merely an object of viewership; instead, it becomes an integrated, immersive component of the place itself.
Another element is the technological lens on the planet, presenting it as a shifting, impermanent constellation that generates provisional truths—a temporary narrative, a form of approximation. This framing juxtaposes traces from distinct historical epochs, presenting them in simultaneous relation, collapsing linear time and opening the works to a multiplicity of temporal perspectives.
In these intersections, antiquity converges with the digital, merging ancient artifacts with the cyberspace.
supported by bmkoes