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“At a public square, a man is feeding pigeons. Another man is watching this scene and is in turn being watched by a third man who remarks that there is in fact nothing remarkable about the scene being watched.
‘Be quiet’, the other man says. ‘I don't care about pigeons. I am watching myself watching. I am listening to what the things seen are telling me or telling themselves. Seed attracts the pigeons. The pigeons attract the gaze. This gaze pecks, bills, mutters, traces, and expresses-vaguely and indistinctly.’” (Eva Meyer, At a public square, in: Kunsthalle Wien, Oberflächen / Surfaces, Klagenfurt 1998, p. 61.)

It's raining. Rainwater is dripping from the roofs and puddles are forming between windfall fruit and leaves from the pear tree. The pigeons are still sleeping.

In the Gegend*, perspectives are distorted and tenses are shifted. Objects and situations, some of which are familiar from everyday life, are put in relation to one another, revealing a poetic dimension of reality. Between gestures, words and objects, the possibility of a narrative emerges. Various forms of temporality are touched upon. In the present, the possibility of a continuation emerges, which in turn is called into question elsewhere.

The German Konjunktiv (en. subjunctive) is used as a linguistic reference. In language, it is generally associated with the description of something other than the apparent reality. It is used to describe something that would have been, would be, would have become, could have been… In the attempt to make it spatially tangible, we create images that encourage reflection on the potentials of a narrative.

*We use the word Gegend (en. area) to describe the entire installation with all its parts, the spaces in between and the room in which it is located.

Photos: kunst.dokumentation.com / Manuel Carreon Lopez