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

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.