FAR TOO LONG

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

The installation proposes the space as a site of Waiting—a space that has come to a standstill in time, or in which time seems suspended, as if one were waiting for time itself to move on. In the situation of waiting and in a persistent state of anticipation, the experience of time becomes subjective.

A choreography of rhythmic elements creates a space of potential occurrences—a space in which different temporalities intersect, interweave, and surprise: from time to time, something happens; in between, one lingers—waiting for something else to occur. Different sonic rhythms overlap in varied ways: the constant ticking of the thermo-hygrograph, transcribing the duration of the exhibition; a drop of water falling from the ceiling into a glass now and then; the clicking of the slide projector before another image, text, or an empty frame appears. Occasionally, a vocal fragment of the song I’m Waiting Here is transmitted to the radio.
Through the simultaneity of these elements and their differing temporalities, the linearity of time is disrupted. Instead, attention is drawn to the duration of things in perception. Various thoughts accumulate side by side—without a fixed temporal order. Through their open, spatial arrangement, a field of possible relations emerges.

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, persists: the urge to hold on to objects and memories as points of reference in time. Something can be filled with emptiness, giving space to sense absence.

Minimal interventions, such as the steel tubes, emphasise the preservation of the architecture with its dated wall cracks. This room is one of only two kept in their original condition after the building was bombed in 1945. The space is illuminated solely by the natural rhythm of daylight, referring to the passage of time. Through a hole in the curtain, direct sunlight casts a dot of light that moves across the floor over the course of a day. The artificial standstill of preservation and the ever-changing conditions of light are juxtaposed.