From a distance the four grey buildings in the idyllic chestnut wood appear forbidding. They are lined with lead and the grey colour raises associations with camps and captivity, in line with the installation’s title. The poetic inner life of these little houses, which are dedicated to the four elements, are entirely contrary to this impression. Wind moves the glockenspiel in an inner room, a cooling body of water stands calmly in another. If you stand in the middle of the installation, you feel protected rather than threatened, but the absence of the human beings that have left traces here is all too evident – and raises questions.

From a distance the four grey buildings in the idyllic chestnut wood appear forbidding. They are lined with lead and the grey colour raises associations with camps and captivity, in line with the installation’s title. The poetic inner life of these little houses, which are dedicated to the four elements, are entirely contrary to this impression. Wind moves the glockenspiel in an inner room, a cooling body of water stands calmly in another. If you stand in the middle of the installation, you feel protected rather than threatened, but the absence of the human beings that have left traces here is all too evident – and raises questions.

From a distance the four grey buildings in the idyllic chestnut wood appear forbidding. They are lined with lead and the grey colour raises associations with camps and captivity, in line with the installation’s title. The poetic inner life of these little houses, which are dedicated to the four elements, are entirely contrary to this impression. Wind moves the glockenspiel in an inner room, a cooling body of water stands calmly in another. If you stand in the middle of the installation, you feel protected rather than threatened, but the absence of the human beings that have left traces here is all too evident – and raises questions.