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From Ribas: "The only thing self-evident about the contemporary is that nothing concerning the contemporary is self-evident anymore."
From Adorno: "It is self-evident that nothing concerning art is self-evident anymore, not its inner life, not its relationship to the world, not even its right to exist."
From Ribas: "The only thing self-evident about the contemporary is that nothing concerning the contemporary is self-evident anymore."
From Adorno: "It is self-evident that nothing concerning art is self-evident anymore, not its inner life, not its relationship to the world, not even its right to exist."

Performance

Polymer Factory's Bathroom

M6 : An Exhibition as a School, Art Factory Polymer, Tallinn, Estonia

Polymer Factory's Bathroom comes from the context of M6: An Exhibition as a School at Art Factory Polymer in Tallinn. The work shifts attention away from the official exhibition space and toward a marginal, functional, and often overlooked site. The bathroom becomes a place where institutional structure, bodily presence, and informal experience intersect. By treating this peripheral room as an artistic site, the work questions where exhibition begins and where it ends, and how the architecture of display produces zones of attention and neglect. Within the practice, Polymer Factory's Bathroom extends the idea of the exhibition as a learning system. It reveals the artwork not only in the object or event, but in the social and spatial conditions that allow something to be seen, used, remembered, or forgotten.

Unknown

Agency of Possibilities and Impossibilities

Unknown is situated within the Agency of Possibilities and Impossibilities, where the absence of a fixed identity becomes the condition of the work. The title does not simply indicate missing information; it opens a conceptual space in which the artwork resists completion. Through mixed media and digital work, Unknown stages the instability of authorship, objecthood, and recognition. The work asks what remains of an image when its origin, subject, or final meaning cannot be secured. Its anonymity becomes active rather than empty. Within the broader practice, Unknown functions as a counterpoint to classification. It allows the platform to hold an unresolved object: a work that remains visible, but not fully identified; present, but not fully possessed; produced, but still open to possibility.

Red Tornado

Agency of Possibilities and Impossibilities

Red Tornado belongs to the Agency of Possibilities and Impossibilities, a conceptual framework where the artwork appears as a field of unstable force. The title evokes movement, rotation, and disturbance: an image or action caught between formation and collapse. The work suggests a system that cannot be fully stabilized. Its energy comes from tension, from the impossibility of fixing the event into a single readable form. In this sense, the tornado becomes both image and method: a structure of repetition, acceleration, and dispersal. Within the broader platform, Red Tornado operates as a figure of contemporary production itself. It reflects the way images, performances, and concepts circulate through forces that exceed the artist, while still leaving behind a visible trace of agency.

Dreaming Sarah

Metropology: Love as a life statement commodity, City Intelligence by Money.

Dreaming Sarah belongs to the Metropology project, where love, money, desire, and urban intelligence are brought into the same conceptual field. The work approaches intimacy as a mediated form, shaped by systems of value, projection, and social exchange. The small digital format intensifies the condition of distance. The figure or subject becomes less an image to possess than a sign circulating inside a compressed economy of affect. Dreaming is not treated as escape, but as a mode of production where private fantasy meets the coded structures of contemporary life. Within the broader practice, Dreaming Sarah transforms love into a critical object. It questions how desire is formatted by the city, by money, and by the technological surfaces through which contemporary subjectivity becomes visible.

Travel Package

East Berlin Import/Export at The Sotodo Art Gallery.

Travel Package stages mobility as both promise and construction. Emerging from the context of East Berlin Import/Export at The Sotodo Art Gallery, the work treats travel not simply as movement between places, but as an economy of images, expectations, and cultural translation. The title suggests an object already prepared for circulation: a package, a destination, a consumable experience. Yet the work turns this logic back onto itself, revealing travel as a performative structure where identity, desire, and geography are continuously repackaged. Within the platform, Travel Package extends the conceptual concern with displacement and exchange. It belongs to a practice where the artwork is not only what is shown, but also what moves, what is carried, and what becomes transformed through passage.

Safe Place

Carol Bruno Art Collective in action in East Berlin using street lights.

Safe Place is a performance-based work rooted in the collective action of the Carol Bruno Art Collective in East Berlin. The work uses the urban situation as a temporary stage, where street lights, movement, and shared presence become the material of the piece. Rather than presenting safety as a fixed location, the work treats it as a fragile condition produced between bodies, public space, and the social imagination. The city becomes both frame and participant, holding the performance inside a field of visibility, exposure, and temporary protection. Within the broader practice, Safe Place belongs to an early vocabulary of displacement, collaboration, and situated action. It proposes the artwork as an event that appears through use, encounter, and the unstable possibility of inhabiting a place otherwise.