Nevermind the Gap assembles a series of works by Vikenti Komitski, lenticular prints, collages and installations likewise, that deal with the impossibility of closing the circuit between two almost identical, but nevertheless incompatible phenomena, modes of representation or points of view. Instead of indicating a dead end, the minimal gap between the one and the other is turned into the infinitely delayed boundary point that keeps on feeding our desire. The gap is thus neither turned into an object of mourning, nor fetishized, but rather nonchalantly registered: there is the gap again, nevermind! The three lenticular prints from the on-going series Parallax each present two complementary, but non-concurrent sentences, where the one can only appear, when the other disappears, where the one can only be revealed, when the other is concealed: »Always here« and »Never there«. By different means, the installation High Noon sets forth the Fort-Da game characteristic of the lenticular prints. Consisting of three metallic elements, ready-made and devoid of their original function, the installation recalls a dystopian landscape; or rather it’s somehow comical cliché. The frame at the centre of the installation does no longer frame anything, but the void it contains and thereby highlights the precise moment of splitting that is characteristic of the high noon, the so called hour of the shortest shadow, when every »one« turns into »two«.

Constantly changing tone and media, Komitski’s works move between the detachment of the lenticular prints, the colourfulness and vividness of the collages and the melancholic aftertaste of the installations. It is, thereby, the interplay between the conceptual rigidity and the intrinsic aesthetical value of the materials and objects that leads yet to another meaning of the »gap« in the title of the exhibition: it is the gap between the conceptual and the aesthetical, between the sayable and the sensible, that Komitski is trying to grasp and to set at play.