In “Cargo 200. Experimental Projections on Surfaces 5.8”, the long wooden elements reference the visual vocabulary of Constructivism. This style, once tied to a belief in collective transformation, appears here not as an active structure but as its remainder. These are no longer building elements—they are fragments. Instead of a promise, we see the trace of something left unfinished. The composition borrows from the logic of icon painting, but without figures, without faces. At the center is a black square—not a metaphysical symbol, but a marker of absence. It functions as a grave, both literal and metaphorical. The viewer sees no clear identities, no names, just the faint outlines of coffins from an overhead perspective. This is not a representation of a specific event, but a broader reflection on war as a process that erases not only bodies, but memory.

The Constructivist connection is deliberate. A style that once aimed to shape a new world through formal clarity and collective ideals now reappears emptied of content. The forms persist, but the vision behind them has faded. This tension—between lasting form and disappearing meaning—is where the work draws its quiet power. It does not offer judgment, but shows how aesthetic language can survive the failure of ideology, and how form may carry memory when nothing else remains.

Curated by Hannah Kruse and Mona Mousse

Text by Hannah Kruse and Sofiia Yesakova

Group exhibition