Dunst’s conceptual approach draws from artists like Marcel Broodthaers, who examine the systems behind word and image perception, and the 1980s Viennese scene that sought to expand abstract painting into exhibition spaces. He revitalizes these complex issues by creating correlations and questioning the apparent meanings of elements through variation and superimposition. In the Secession, the “D” and “A” cut from pink foam lean against a diagonal wall, acting as a hypertext line. This prompts exploration of spatial context, transforming the letters into “da-vor,” “da-neben,” “da-bei,” or “da-hinter.” The repetition of letters on the back of the wall further alienates and reformulates their front-facing presence, establishing a spatial axis despite their invisibility together. This raises questions about the meaning of “DA” and whether the letters become a stuttering reference to DADA, challenging traditional art forms. Dunst’s work, characterized by a nuanced and anti-authoritarian stance, avoids expressionistic extremes, offering a calm yet raw experience. It navigates between textual and painterly realms, guiding viewers through diverse perspectives while manipulating their interpretations. A large illustrated section by Walter Pamminger applies the exhibition’s wall concept to the book, organizing space and perception according to recto and verso principles.
