...In der fundamentalen Stimmung des Schreckens haben wir dieses Ereignis in unserem Wesen erreicht, dank dessen nichts offenbart wird und worauf die Frage gestellt werden sollte.
Martin Heidegger, 1927
In a poorly lit space, the viewer can distinguish kinetic objects producing clanking sounds. On a closer look, we can see mechanisms, some of which are busy with producing something and setting in motion metal spheres. Others are frozen as if waiting for their turn in some elaborate production cycle.
The artist has deliberately created them so convincing in their functionality (e.g. an old concrete mixer with hollow tin balls like those fishermen use as floats for seine nets) but absolutely meaningless, or more accurately, whose meaning is not known or was lost. Our meeting such mechanisms is marked by a Roman dodecahedron – strange objects. Made of bronze, these hollow dodecahedrons have a round hole in each face and 20 small cones on each angle. The size of dodecahedron varies between 4 and 11 cm. They are dated around II-IV centuries. There are 27 theories explaining what these objects could have been used for but none of them could be proved.
It is a situation of loss where something lost is found by another person who loses it too and then someone else finds again, and this someone throws it away after failing to discover its purpose. In Die Geworfenheit, desolation of being is a metaphor for the abandoned Earth which like some self-winding casket is neglected by God. For Sartre, desolation is awareness of your own loneliness in this world, in the absence of God, in the absence of reliance on anything in your existence. That is why he is forced all the time to create his own ideal and bear responsibility for his own choice. In this way desolation merges with anxiety. Martin Heidegger reflected on desolation too – in the context of mortal fear in the face of nothingness.
Space plays an important role in Die Geworfenheit. It is created by the medium of mediality of sound, video and the materiality of things. With their movements, they either come into motion or achieve rest, and this monotony brings the viewer into that very state of perplexity when coming across something lost by someone else, whose meaning we will never discover.