5 forms (v.2), 2011 & Mirror Map, 2011
ca. 500 Paper cut-outs, mirrors, tipp-ex, paint
450 x 455 x 350 cm
Intersection between the existing room, that contains the work 5 forms (v.2) and itʼs virtual double rotated arround the middle axes and oriented north - south. Therefor 5 forms becomes invisible where the walls of the virtual second room cross the real space.

Mirror Map lies in the center of the virual room oriented north - south (as the virtual room) and reflects the surrounding space. Itʼs becoming the moving map of a mirrored, 1 : 1 scale projection of the room.

5 forms
spreads in the entire room to the extent of the space itself. It consists of 900 (ca. 500 in this space) paper-cut-outs that display, arranged according to certain logic and forming a grid, on the walls of the room. All drawings are compositions, combinations, fractions and declinations of five basic shapes from a geometric abstract language that can be frequently encountered in our architectural and urban environment. They are signs of an unspoken language. The hierarchy and the grouping of these signs follow an arbitrary and manic logic. The act to repeat the splitting of each basic shape and to combine them with each other allows to imagine an infinite number of possible forms. The combinatorial creativity is the minimal subversive act in a system with an intrinsic rigid, alienating logic. This relative liberty of transformation leads to modifications, which erases gradually the basic shapes. This, paradoxically, allows to perceive a way out of this obsessive system. The pursuit ad absurdum of the obsession eventuates some liberty through the emergence of new and original forms.
One of the starting points of - DISSIPATIVE.S - is the 26° deviation from the N-S axes of the house in which are located the exhibition spaces. This geographic fact incited me to imagine what influence could have the building's reorientation to the N-S axes on the exhibition space which would be finding itself virtually out of axes, unbalanced in relation to its initial position. Outgoing from this imaginary modification the two rooms become, in different ways, a field of experimentation for possible effects of this derangement. This would influence not only the architectural structure of the room and the things being inside but would also provoke a modification in their practice: now the spaces generate some of the elements that constitute the installation and influence on their positions. The "tectonic" shift of the exhibition space reveals its multiple layers and allows to crate, to experiment other connections between the forms composing them. It appears a space that is not only defined by it geometry but a chaotic space where change of sense, free associations, interaction between form(s) and language, fragments of historic space, absurdities, sculptures, drawings, etc. operate. This other space does not have a precise shape and cannot be defined by its form, its content and/or its function. The exhibition is in two parts: - The virtual redirection into the N-S axes of the smaller exhibition space and the works that are inside. - In the second space there is a kind of drawing in 3D made with drawings, collages and sculptures. The constituting elements of the room are considered as potential material: architecture (angles, doors, windows, ...etc.), equipment and decoration (mouldings, mirror, fire place), its use in the past (wedding ceremonies) and its present (exhibition space), and the symbolic they carry, etc. They generate partially or entirely some of the elements of the installation and integrate existing works.