An assemblage of fragments, forming itself out of the substance of a the material memory and unforming itself back into it. Vibrating as a contact zone of a multipicity of worlds, never fully known, impossible to assimilate. A movement of decay manifesting for brief moment in space as an exponential movement, as an in between and its dissolution.

a project by 4E: Franziska Lyon, Johanna Heilig, Justus Lietzke, Kosmas Dinh


We discover a dissolving place. A former garden spot near the center of Karlsruhe, that has to be demolished because of war load in the ground. We want to remember. The focus lies on the memories that find no place in official archives. How can we reveal the processes of change and decay? To understand we look at the material itself. Which insights can the fracture of a burnt beam or the patina of an old chimney pipe open up for us? By many the empty sheds on the site were used as housing. Which objects do they consider worth remembering?


Through the process of sorting we grasp the Fragments. We catalyse connections and dependencies between them and with the new context of the swimminghall. For the time-span of three days the material assemblage takes on the form of an exponential movement. Due to legal building regulations in the swimminghall only a few people were able to see the installation in its physical form. During these days we continue the exploration by recording sounds directly from the fragments which later are matched with recordings form the site and are turned into a sound environment with our friend Firat Yildiz.


For the presentation of „immaterial“ we developed an exhibition concept that featured the virtual tour of the installation from the swimming hall but also extended the constellations of fragments into yet another context. Alongside, the exhibition presented contextualising video works that gave insight into the events and encounters at the former garden spot in its last days.

a project by Kosmas Dinh, Franziska Lyon, Johanna Heilig, Justus Lietzke


Constellations of fragments, forming itself out of the substance of memory and exchange, and dissolving back into it. The tactile process of sorting the fragments, for us, was a very essential part to grasp the information contained in the material. Through the installation the visitors became part of a continuous sorting process. An evolving exchange between the material memory, the visitors and other visitors, that took part in the process.


The vacancy on the site had been used as shelter by many for several months. LA LUCRU gives insight into an encounter that does not stop at the failure of speech. The people in whose reality we get a glimpse of in the short documentary, show incredible hospitality in the precarious circumstances of the last days before the demolition of their home. The, at times hermetic at other times poetic, images focus on these shared and very honest moments of human warmth in the face of uncertainty.


As one day friends from the ballet came by to visit the exhibition and they immediatley approached the ring installation with a lot of sensibilty and interest, the visit turned into a collaboration very organically. For the closing of the exhibition we invited them to use the ring installation as a frame for a performance. A continutation of the forming and unforming and a final exchange between the material, the dancers and the visitors who took part in hanging and moving the fragments.