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In the context of getting to know the physicality of a space, along with its conceptual
frame, a week-long build up resulted in the delineation of various perspectives on the relation
to–and with the art space. As a consequence, the subjects covered have echoed
the generic emotions such as doubt, happiness, fear, love and hate. Embedded in the
spatial context, the works could not outlive the duration of the show.

no. 1 formulates a literal take on perspective: lacking side panels, a professionally installed
modular ceiling hovers between the original ceiling and the floor, gaining and losing credibility of the
new situation it proposes to the original situation, depending on one’s position relative to it.
Every day a different tile would be lifted from the modular ceiling, uncovering fragments of what
the installation had been hiding.

no. 2 makes use of another artists’ sound piece, more specifically of the brackets attaching
the equipment to the walls. The excess of options (represented in the holes) reflects a physical
deliberation of the instalment of the work. Whether the options have actually been considered is
irrelevant at the time the decision is made. The spatial distribution of the holes corresponds not only
to the characteristics of the brackets elucidated on the walls, but also to the neighbouring holes,
much like constellations, or signs, seen in a night sky.

no. 3 is a play on our perception of certainty, or the certainty of our perception.
On construction sites, newly installed windows are often marked with crosses made of tape, as to
say–undoubtedly–‘there’s a window here’. This established marking enhances our certainty about the marked
window’s existence, yet simultaneously questions the credibility of the unmarked ones.