In an upper corner of one room in the Kunsthalle Basel hangs a TV screen. It seems very far away – small and insignificant amidst all the other wonderful things. To look at it closely you must use the binoculars on the floor on the other side of the room. This is how the work works. You walk across the room, bend over, pick up the binoculars, stand up, turn around and bring them to your eyes. Then you need to look at the screen and adjust them into focus. This is how the work works. It offers a little moment of play (or of work, depending on your mood): a game of hide and go seek, the fantasy play of the adventurer discovering a far off land or Alice in Wonderland looking through the looking glass.

In Kasko there is one lonely laptop. It draws you into the other world from up close. Both screens show the same thing.

What do you see? Like Neo in the Matrix the work entices you into another reality. Do you want to go further? Do you want to enter this world? This is how the work works. You must somehow decide in which reality you wish to exist.

* A remark made by Malevich in reference to his painting The Black Square (1915), a seminal work of modern and abstract art that he said was meant to evoke “the experience of pure non-objectivity in the white emptiness of a liberated nothing.”