„It (the seduction of the beach) is about the interface of continents and oceans, the potential of fear of being faced with the enormity of a water planet, the seduction of being at ends, of earth, land, and the imprint of urban life. It is about essences, of sand as the earth`s constituent or residual matter, as it dissolves into the shallows of oceanic vastness. (…) We are drawn to edges: the narrative power of looking over the cliff, the roof of a tall building, wanting a seat at the side of the pool, a corner office.“ (Carolyn Cartier, Seductions of Places)
The modern subject is a subject that’s always on the move. But how are the places consumed by those who visit them? The spatial encounters in this installation perform places and produce landscapes by dissecting elements of storytelling and relating them to the subjective perception of the back and forth with the unknown. Nature is often presented as this fascinating object that functions as a stage for our self-presentation. We are seeking to find ourselves in the landscape, on a quest to reconnect to the fragments of ones being. On this journey we encounter places shaped by the interaction between humans and nature that have to be closely monitored and maintained to ensure their existence. We discover myths of origin tying their narrative to the sand, cliffs or rocks: Neringa the giantess that formed the Curonian Spit with her own hands and the Ginnungagap, the abyss which came before genesis in the north mythology. We wander, turn and listen while exposing one layer of potential memory after another.

"Evamaria Müller's video installation deals with the effort to keep memories and to fill gaps. This kind of fear of loss is expressed on the individual screens, on the one hand, through the search for identity, but also through the active creation of memory; on the other hand, one of the videos shows how extensive artificial reforestation stops the natural silting up of a Lithuanian seashore. In all cases, these are constructions of an idealized image that can only be sustained through strong control." Otto Bonnen (curator Heimspiel)