GMU:Re-enchanting the field/Nina Bendix Igleses: Difference between revisions

The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.

===== '''THE RESULT''' =====

What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.

In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.

In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.