The question “what is space of the exhibition?” has started to have different meanings in the age of digitization. We do not know now where the exhibition is really happening - be it in the gallery, or on our screens when we check photos from exhibitions, or in the atelier of the artists who produce objects.
The exhibition [N+1]rooms tries to pose these questions and deconstruct different possibilities of exhibition spaces. The main part of the exhibition exists in gallery and consists of 9 screens. These screens show the stream from the surveillance cameras placed by artists in their own places. The cameras translate the objects, performances or images produced by artists. The same pictures are also translated to the web gallery.
The main idea of the exhibition is to create and extend various spaces of the exhibition – from artist’s studio to the gallery and then to screens on viewers' devices.
With the experimental approach of the exhibition all these possible spaces are included into the space of the exhibition. The projects are united by this  approach since the only medium that exists is digital moving images which appear also as a sculpture, performances or flat pictures.
These spaces of the exhibition may be recognized as the out of body space since you do not know the size of the objects, their physical appearance, or if they exist with or without human presence. It creates art space without any coordinates or timelines.

[STREAMS WERE AVAILABLE FROM 18.04.2019 TILL 26.04.2019]



Describing her experience while working on the project, Asya talked about the constant discomfort from the observation she was feeling even when the camera was off.

In Asya's experiments we may see the paradox that every artist faces to: how to show something without showing anything? how to demonstrate what is hidden while remaining protected?  Asya shows screens, gratings, windows, growing plants, a palette — all the visual images that she creates, with the purpose to be hidden from the gaze of the camera or the viewer. In contrary  that barriers are what attract the eye.

Iuliana broadcast were organized in the specially built aquarium in Wroclaw with snails Achatina, which became a laboratory for the study of "principles of success"


L R # 008

Topic: Study of the success principles in gastropod mollusks, particularly in Giant African snails Achatina

Objective: Determine and describe the behavior strategies and principles that contribute to the successful achievement of goals of the snails. Identify and describe these strategies and principles. Describe how the principles of their behavior allow snails to be more successful than other species of animals, with different speed strategies. Prove that the snails success principles are evolutionarily justified.

Equipment and materials: Terrarium, with a capacity of 54l 8 test subjects  —  Achatina fulica snails Soil, moss, snag, edible supplies, printed materials inviting snails to a dialogue about success.






For the project "Gorod Ustinov", the group of artists named by the former USSR city, presented the screenshots taken with a surveillance camera while traveling in Russia.

"Gorod Ustinov" has no geographic location and is constantly moving. All our subjects and practices aim to be mobile and nomadic. During the broadcast we will be in at least two remote locations. That's why we've got the idea to take the camera with us and to make live broadcasts with the current locality, spaces and surroundings. The stream will not be continuous, but it will be fixed and found on a constant process and re-search. 



Multimedia artists were showing their project Dermapad, that consists from a leather mouse pad made of silicone. It existed in the working space of the artist - screen at the computer desktop.

The mouse and mouse pad interest them as the border of technology and human, this item has a very human, intuitive, skin-like quality, but is also associated with technology because it physically touches it.



The artist presented several performances made with the help of camera and investigating its properties as a capturing tool that fix and move at the same time. The performances of Ilya were based on still life, melting snow, movement around the city, movement of camera outside the window.

Ilya’s videos capture reality and present the interpretations of the classic “still life” genre  —  "nature morte" through its direct transcription, where death is a fixation or an endless attempt at fixation.

“Text on the screen” project consists of street and fake street photos with tautological inscriptions in the visual style of news and links. Initially it aims to doubt the original medium of photo, the broadcast of the project further confuses the viewer   —  combining both real photos with photos constructed in a graphic editor it mixes them into a stream of moving pixels.



Kreuzberg Pavillon focuses on the development of extended exhibition concepts, which so far can only be created and implemented in project spaces. The special intellectual and sensory freedom experienced by artists and, in turn, the visitors in project spaces is tested in a variety of exhibitions and open concepts that form a necessary deinstitutionalized space of experience. 

For the exhibition Alexander created a large-scale installation in the forest.

The camera autonomously streamed static objects and changing nature. Flat plywood figures received a new dimension and volume in the broadcasts of the project, presenting the artist from the prospect of post-Internet aesthetics. The Shishkin-Hokusai's broadcast is switching the installation into a video-art, where fictional and realistic images are mixed, and the figures get volume and vitality in three-dimensional space.

Using the technique of the theater performances, he breaks the “fourth wall” of the stage, and crosses the flat of the screen: figures are gazing the audience just like the audience gazes at the figures.



The webcam of Egor Kraft broadcasted his video "Hollow Domain" played on TV screen in loop. This technical approach created endless recursion of reproductions that are based on a virtual room from the video. The "metaphor of existential freedom, the conventionality of boundaries" presented in the project was enhanced by the multiplicity of representations. The infinity of space existed in the video were prolonged in the darkness of the glossy surface of the monitor - a black mirror.