engraved Carrara marble
82 x 68 x 10cm;

Rhythm Is A Dancer / Spirit Is A Bone

2022, 85  x 60 cm

[quotes by Georg Wilhelm Friedrich Hegel,The Phenomenology of Spirit, 1807 and Snap!, Rhythm Is A Dancer, 1992]

Untited, 2021, Metal, neon, marble, deer scull, 60 × 52 × 14 cm

Untitled, 2021. metal, deer scull , neon, 95 x 84 x 16 cm


2020, metal, ceramic, neon, sticker
80 × 79.6 × 20 cm;

END OF THE CIRCLE, 2019, neon sign, 170 cm in diameter


2019, metal, lenticular print, deer scull, 110 x 97 x 17cm
Were We There Already 

2019, Metal, plinth oak wood, lenticular print, 100 x 80 x 17 cm

Untitled Assemblages, 2020

Untitled, 2020, Metal, plastic 54 x 40 x 7 cm
Untitled, 2020,Metal, plastic, 53 x 35 x 5 cm

Sea Level, 2019, Metal, print, foam, 80 x 110 x 22 cm

Tropic Utopic, 2019, metal, rubber, paper, silicone, 130 x 124 x 20 cm

Alle Vögel sind schon da , 2018, metal, plastic, wood, lenticular print, 92 x 81 x 20 cm

Tinder Date Gone Wrong, 2018, metal, wood, glass, lenticular print,  86 x 63 x 20 cm

With his last series of works Vikenti Komitski (*1983, Sofia, lives in Berlin) displays the multi-layered surface that constitutes an image and that is usually covered over by the flatness of the picture plane. Against the modernist credo of flatness and purity, these large-scale assemblages, made out of found objects and budget shop items, are deliberately multi-dimensional and impure. They literally stand, with one feet, on the scrapheap of contemporary culture industry, while the other strikes out to push the artistic avalanches of the last century ever further. 

The practice of collecting things seems to be the primary gesture that shapes those works, however, more than mere gatherings of trivia, their formal assemblage allows for the apparition of the visual unconscious that haunts the post-internet era and that casts a deep crack in its apparent shallowness. Superimposed one on top of the other in an industrial and angular style reminiscent of the aesthetic language of the Bauhaus, constructivism, or the Neo-Concrete movement, the different segments constituting the works add up to a kind of visual rebus, that deliberately plays with our conceptions of image and object, of visuality and spatiality, of trash and art, of the obvious and the secret, of the natural and the artificial. In our digital times, thoroughly altered by the human and his technologies, reminders of the analogue, the non-human, the animal and nature in general enter the works. Yet, these images of birds, trees, etc. are certainly altered and deformed by the constructions that hold them.

All innocence is long gone.

(text by Angelika Seppi)