Tomo Savic-Gecan

Isabella Bortolozzi’s new Berlin gallery is small and white. Quite simply, it is the epitome of the white cube, interrupted by only a column or two, which stand like minimalist sculptures in the narrow room. One column bears the weight of the ceiling strongly and stoically, as you might expect, while the other shifts—deliberately and discreetly, slowly, but very precisely, in a pattern predetermined by Savic-Gecan and derived from the movements of visitors at an exhibition in Kassel last year. The rhythm of the intervention is thus determined by actions long past, but nevertheless ineluctably connected to the present. In reality, the column’s movements are so minute that they can’t be perceived by the naked eye. Only prior knowledge of what is going on makes you wait around for a long while, or come back again, to see if you can perceive a change. Savic-Gecan’s rigorously conceptual background allows him to utilize emptiness and absence, in which he elides temporal gaps and brings attention to structures institutional and architectural.

Translated from German by Emily Speers Mears.