Great Chain of Being
The great chain of being, an ancient philosophical concept, attempted to explain the structures and relationships of the world as a form of hierarchy or set of strata. This philosophical idea is here expressed in the form of the entities that constitute the contemporary world. The philosophers of the past believed that the structure of the world had at its top a god, and that beneath there were angels, animals, plants, and elements. But this conception of the world, as a result of the changes in civilization and culture, resulted in the elements that constitute the world undergoing a transition and sustaining an unforeseen hierarchy. The works of art depict the contemporary structure in the form of robots, machines, people, animals, and virtual or digital entities. Within virtual systems, these entities undergo a process of creation, arrangement, use, disposal and recycling, through which they emerge and disappear. The work depicts the stories emerging from these processes, against the background of a systemically designed landscape akin to a factory.

Anne Nguyen

Autarcie (….) is a game of strategy, alternating between forward-facing dance moves and free digression, in which two hip-hop dance specialties, breakdance and popping, are brought into contact. For 50 minutes, four dancers, using very different performance spaces and techniques, engage in a frantic ritual. The front of stage is the rallying point where the four powerful individualities come together and devise a warrior dance directed at the audience. They are drawn towards the empty space beyond this common point of harmony, and each dancer thrusts herself into that space, in pursuit of territory, alliances and hierarchy.

Sonja Baumel

crocheted membrane

‘Crocheted Membrane’ experiments with creating a momentary fiction through fashion artifacts. Starting with the physical needs of one individual human body in an outdoor temperature of 10 degrees Celsius, seven hand-crocheted body forms were produced. The clothing’s texture got thinner or opened up completely on areas of the body that needed less warmth and were thicker where warmth was lacking. In this way, a fundamental change in the aesthetic and function of clothes was displayed. Fixed forms, such as trousers, were recreated into new, unique body forms. Instead of one uniform surface, the textures became alive and inimitable. “Her concept of clothing does not derive in the same way as most fashion design, from shape or historically patterned form with embedded social hierarchy and material richness, but is instead determined by the needs and sensations of the human body – performing in the same way that bacteria populations individually respond.” (Villeré 2014) The resulting fictional artifacts illustrate how we could use knowledge about our unique bacteria population to create a novel layer.



About-Time is a clock that challenges our power of perception and intuition. Featuring a constantly changing composition, through both color and form, it invites us to view the idea of time from a fresh perspective. Three translucent circles, which possess a logical visual hierarchy (the largest circle tells the hour, the smallest tells the second), pivot atop a larger white circle. The locations of the circles’ outer most points refer to the time. Traditional clocks, utilizing written numbers, rely on reading the information. This clock relies solely on visual information in the form of varying colors and shapes. Time is manifested into a new and purely visual language