ABOUT
The exhibition design creates a temporary spatial structure within the “Prospekt” at GES-2 House of Culture. Here, sculpture ceases to be perceived as an autonomous museum object and becomes part of a shared space of movement, vision, and everyday presence. Instead of a linear route, a permeable, multi-layered environment emerges, where works from different eras and scales coexist within a unified architectural system.
The spatial composition is inspired by Çatalhöyük, one of the oldest known settlements, characterized by a dense fabric of interconnected volumes without a clear separation between public, domestic, and sacred spaces. The project draws on this spatial principle rather than the historical image itself: the absence of a single center or fixed route, freedom of movement between levels, and the gradual unfolding of the structure through movement. This logic deliberately contrasts with the existing axis of the Avenue.
Within the elongated open space, paths shift and intersect, transforming the Avenue from a straightforward passage into a fragment of a temporary city with multiple internal directions. Ramps and terraces replace staircases, ensuring accessibility while creating a gradual immersion into the structure. Upper levels and walkways allow the exhibition to be experienced from different perspectives, turning it into a dynamic spatial environment.
Three primary focal points emerge within the structure. The first is the entrance area, which establishes orientation and shapes the visitor’s initial perception. The other two are connected to Maurizio Cattelan’s Comedian and the Shigir Idol. Although there is no fixed route, from a particular vantage point these objects unexpectedly align along a shared visual axis. This juxtaposition becomes a key spatial gesture, bringing an ancient ritual artifact and a contemporary artistic image into dialogue within a single environment.
As a result, a temporary, multi-layered environment emerges within GES-2, where sculpture is perceived not as an autonomous exhibit, but as part of a broader urban, cultural, and human landscape.
2026
The spatial composition is inspired by Çatalhöyük, one of the oldest known settlements, characterized by a dense fabric of interconnected volumes without a clear separation between public, domestic, and sacred spaces. The project draws on this spatial principle rather than the historical image itself: the absence of a single center or fixed route, freedom of movement between levels, and the gradual unfolding of the structure through movement. This logic deliberately contrasts with the existing axis of the Avenue.
Within the elongated open space, paths shift and intersect, transforming the Avenue from a straightforward passage into a fragment of a temporary city with multiple internal directions. Ramps and terraces replace staircases, ensuring accessibility while creating a gradual immersion into the structure. Upper levels and walkways allow the exhibition to be experienced from different perspectives, turning it into a dynamic spatial environment.
Three primary focal points emerge within the structure. The first is the entrance area, which establishes orientation and shapes the visitor’s initial perception. The other two are connected to Maurizio Cattelan’s Comedian and the Shigir Idol. Although there is no fixed route, from a particular vantage point these objects unexpectedly align along a shared visual axis. This juxtaposition becomes a key spatial gesture, bringing an ancient ritual artifact and a contemporary artistic image into dialogue within a single environment.
As a result, a temporary, multi-layered environment emerges within GES-2, where sculpture is perceived not as an autonomous exhibit, but as part of a broader urban, cultural, and human landscape.
2026