Among clean ruins, partially decomposed sculptures, maggots, traces of warehouses and mobile phones, the provocation is reinforced by the way Roßmeißl is also involved in the curation, defining the way – in this case, the iconoclastic tone – through which the elements come together. In this regard, not only was the lighting designed and set up by the artist, but two additional devices were also installed in the gallery: one is responsible for blocking the mobile network and the other distorts the image whenever someone tries to take a picture.
Transporting the work into the spectator’s field, blocking the immediate sharing and sealing the approach with a languid touch, the pieces are delivered to a new place. In this case, a simple one that exhausts its inherently useless character, leaving only criticism intact – not the one which the artist directly enunciates, but the one which the artist helps to enunciate. Deep down, the sentence is also a game that only reveals itself at the end.