Diener zweier Herren
Diener zweier Herren



Servant(s) of Two Masters




The exhibition unfolded as a continuous passage through KIT’s underground space, drawing visitors into an architecture that was both material and representational. Entering down the stairs, the line of sight aligned the first untitled (Night Well) with the absurdly oversized untitled (3D Glasses for portugese Ficcusses), setting the tone: perception itself was doubled, refracted, and unsettled.


From there, the walk became an alternation between encounter and deferral. untitled (KIT Model Tunnel Drivethrough) transformed the corridor into a sequence of fleeting projections, where the museum’s own wooden model mediated the rushing lights of another tunnel, even as actual traffic ran invisibly behind the concrete wall. Inside the main hall, the modular MDF structures — untitled (Architectural Perception Modules) — expanded this play of doubling into space itself: architectural silhouettes of windows, doors, and staircases were overlaid onto cubic grids, turning what might otherwise be read as simple supports into vision machines, and circulation into an experiential apparatus.


At intervals, untitled (Night Wells for Others) opened this subterranean trajectory vertically. Models of the ceiling wells mirrored the soot-darkened windows above, traced by moths and overlaid with their representational doubles in the form of photographic stickers on the exhibition space’s windows. From the outside, the public could encounter these luminous images framed by benches, unaware of their mirrored counterparts below. Illuminated only after KIT’s closing hours, these benches highlighted the relational dimension of the night wells, activated by people sitting down for drinks at night, drawn to the light.


The walk culminated in the sound of the 16mm projector, looping a white film strip in steady mechanical rhythm. This attractant led to untitled (Moths and Pillowcase), a projection of a pillowcase illuminated at night and touched by insects — silent, fragile gestures counterpointed by the machine’s noise. Turning back from this point, the visitor once again faced the MDF modules, now entangled with the memory of insects, light, and sound, rewinding the walkthrough.


The exhibition was structured less as a linear narrative than as a set of folds, where models became images, traces became doubles, and perception was constantly split between presence and representation. Movement through the tunnel was never one-directional; it bent back on itself, echoing the mirrored relations between inside and outside, model and site, night and architecture.



Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren
Diener zweier Herren