Ataraxia

In Ataraxia, Isabella Fürnkäs creates a spatial arrangement in which memory, imagery, and material intersect and overlap. Two arched metal structures—distinctive, rounded, and spatially expansive—are draped with rose-colored, translucent textiles printed with photographs drawn from an archive that has developed over more than fifteen years. The photographic motifs stem from everyday situations, incidental observations, and fragmented moments of memory. They are scenes that slip from recollection yet remain inscribed in the body and on the surface.

The fabric functions like a membrane—soft, translucent, almost epidermal. It does not wrap the structures decoratively, but atmospherically: as skin, as threshold, as a projection surface for past presence. In this constellation, the photographs replace the projections of earlier versions—it is no longer about light and movement, but about inscription, touch, and the storing of time.

Inside the structures lie objects and materials: kinetic sand, found items, and situationally placed things. The space is not an empty volume but an affective resonator—open, accessible, and receptive.

Ataraxia is part of an ongoing practice in which performative elements are not explicitly staged, but carried as potential. While earlier iterations were supplemented by physical or visual activations, this constellation remains calm, tense, and present—marked by anticipation rather than enactment.

As part of nebula, the work is accompanied by the linguistic-performative piece Vantage Point by Olga Hohmann—not as a direct intervention, but as an atmospheric entanglement in which language, memory, and spatial perception intensify one another.

- Text by Diana Nowak