FAR TOO LONG

Installation of 9 works at Oktogon, Dresden, July 26–September 7, 2025

The installation turns the space into a site of ‘Waiting’—a space that has come to a standstill in time, or in which time seems to be suspended, as if one was waiting for time itself to move on.

Different sonic rhythms overlap in varied ways: the constant ticking of the thermo-hygrograph, which is transcribing the duration of the exhibition; a drop of water falling from the ceiling into a glass once in a while; the clicking of the slide projector before another image, a text, or a blank slide appears. Occasionally, a fragment of the song ‘I’m Waiting Here’ is transmitted to the radio. In between, one lingers— waiting for something else to occur. The attention is drawn to the duration of things in our perception.

A form of nostalgia arises when realising that time is irreversible—slipping out of our hands. The human desire to preserve things, to withdraw them from the natural course of time, from decay and forgetting. The urge to hold on to objects and memories as points of reference in time. The paradox of something being filled with emptiness.

After the building was reconstructed, this room is one of only two kept in their original condition. The cracks in the reconstructed wall are carefully dated. Subtle interventions, such as the steel pipes, point to the preservation of the architecture itself. The space is illuminated only by the natural rhythm of daylight. When direct sunlight enters, a small hole in the curtain casts a point of light that moves through the space over the course of the day, following the sun’s trajectory. The artificial standstill through preservation and the ever-changing light conditions are juxtaposed.