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GMU:Re-enchanting the field/Nina Bendix Igleses (view source)
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<gallery widths="500" heights="400"> | <gallery widths="500" heights="400"> | ||
File:MUSHroom1.jpg | File:MUSHroom1.jpg|© Nina Bendix Igleses | ||
File:MUSHroom3.jpg | File:MUSHroom3.jpg|© Nina Bendix Igleses | ||
</gallery> | </gallery> | ||
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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 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. | ||
[[File:Weimar exhibition (5).jpg|thumb|© Eric Beck|left|375x375px]]At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective. | |||
<gallery widths="300" heights="200"> | |||
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File:Weimar exhibition MUSHroom.jpg|© Yue Wang | File:Weimar exhibition MUSHroom.jpg|© Yue Wang | ||
File:Weimar exhibition.jpg|© Nina Bendix Igleses | File:Weimar exhibition.jpg|© Nina Bendix Igleses | ||