The space that the Uruguayan artist, who lives in Berlin, creates for several series of pastel drawings is a silent space. It is reminiscent of the atmosphere of sacred buildings. Superficially committed to the peculiar, sometimes suggestive visuality of high-contrast surfaces and structures, the drawings and objects also evoke sensations of overwhelming silence through their arrangement while the exploration of emptiness and depth.

The works are united by the fact that they sublimate the thematic confrontation with violence and destruction into the air, or more precisely into the clouds. Without concrete hints to historical or similar references, they allow various discourses beneath their sublime gestures, be it local or global trouble spots, climate change or the broad field of personal fears and worries. They directly reject the effectiveness of idylls and utopias in a time that is rapidly becoming more complex. If we pursue this further, Enlightenment dystopias are still not a valid counter-offer.

The experience of the uncanny, the unclear, the undefined protrudes uncommented into the gallery space and pushes the here and now and the doubts about a satisfactory present beyond itself.

In the spatial concept, the audible descriptions of everyday life by Ukrainian artist Iryna Yaniv flank the sensation of the simultaneity of shudder and magic and substitute, in the form of memories, what we may commonly understand as simple reality.