TADAOCERN

"Matthew", 2023. LCD screen. #tadaocern

Shoul looted artefacts be returned to their countries off origin? Visual thought experiment: climbing wall made out of "borrowed" artwork. 3d scans by @oliverlaric

"French Exit" is intentionally engineered to be labour demanding and treats institutional labour as a medium. It exists only through the museum's procedures - rigging, comb-throughs and continual adjustments - so production and display collapse into the same act. The piece tests where the artist ends and institution begins.

Kathleen Ryan has been on my mind a lot lately. Her work could be like a slow, stubborn resistance against AI culture that’s burning us out on endless visual consumption. The world is being flooded with infinite images—always cheaper and sweeter—the fight to stay human in our creative output is becoming uneven to the point of absurdity. What @katieryankatieryan does feels like one of the last frontiers. Her sculptures insist on weight and labor, on the kind of beauty that tries to please. In a good way, if there's such... But do we even have a choice? Is it a valid option to try to compete with the dopamine machine? I’m posting this as a reminder to myself: this is the direction I'll be taking to move forward. Not in imitation, but in spirit. It’s still possible—maybe only barely possible—to hold the line a little longer. The fall is inevitable but the collapse will be full of rainbows.

We live with a constant urge to control... and to rescue. Surrounding is orchestrated; living matter is turned into a stage for our gaze. It reads as care, yet functions as having power over something. “Nature” appears to be manufactured by soci-economic systems. Same in public life: governments promise safety while narrowing freedom; Institutions curate and limit in the name of access; Regulators sort society under the banner of order. Care... is the method of control. "Assisted Shedding", 2025 Photo @archigrafas

The artist’s hand-made inflatable sculptures become the institution’s responsibility. They must fill them with gas, constantly arrange them into a balanced compositions, so to keep them hovering in the exhibition space for as long as the show lasts. The work is a portrait of a system built to fail from the beginning. It exaggerates the dependency between creator, host, and the material. Their ongoing negotiation and maintenance becomes the medium. "Bed and Breakfast", 2025. Hand-made inflatable sculptures (heat-sealed PET/Mylar film), helium and air, nylon line, counterweights, valves.

We live with a constant urge to control, to shape, and to rescue. Bark is stripped; trees are arranged; living matter is turned into a stage for our gaze. It reads as care, yet functions as having power over something. “Nature” appears to be manufactured by social, technological, and economic systems. The same script governs public life today: governments promise safety while narrowing freedom; institutions curate and limit in the name of access; regulators sort society under the banner of order. The mark on the bark is the mark of administration—an act that fixes and reduces. This work names the pattern plainly, so repeat after me: Care... is the method of control. "Assisted Shedding", 2025

An example of a perfectly executed gimick in every sense, direction and layer. One of those rare cases when you create something that becomes a compliment to the genre itself. Autohor @juliusvonbismarck

When care [for nature] becomes the act of erasing [it's] autonomy. "Assisted Shedding", 2025

The Farewell / L'Adieu An installation for The Season of Lithuania in France 2024 at the Beaulieu-en-Rouergue Abbey @abbaye_de_beaulieu_en_rouergue In partnership with: @lithuanian_culture_institute @lecmn Thanks to: @virginija_vitkiene @viktorija_prokofjeva @ula_verslovaite @gazparas @ervinas.faktura @baltrukonis_ @skirmante.jakub @justina_taras @ainebarbora @kemezyte_craftwork Images: Marc Domage / Centre des monuments nationaux #tadaocern #artinstallation #artparis #artfrance

"Ongoing Endings" Every breath is the last one. Until you inhale again. A movement does not build—it concludes. A shadow does not move—it arrived. Progress is a sequence of closures, dissolving into the next one. The story is not unfolding—it is a series of final moments, mistaken for continuity. Nothing waits to become. Only endings, ongoing, forever. Scaffolding stands still, never unfinished, shedding its purpose like old skin, complete in every passing second.

1st place! At Festival Flora—an international, invite-only floral competition in Córdoba, Spain. Mixing all colors results in a deep, almost black shade. With this in mind, I chose to fill a pool with black water as the central element of my installation—a symbol of Córdoba’s layered cultural history, shaped by Christianity, Islam, and Judaism. Over the course of a week, white flowers absorbed the black water, gradually darkening and transforming the installation itself, reflecting the competition’s theme, "Floral Intelligence"—the ability to adapt and mimic the surrounding environment. Sustainability was also at the core of this work. I used local flowers and only the materials left behind by past participants, minimizing waste while embracing the idea of continuous transformation. A city’s identity, like nature, is never static—it absorbs, it changes, it endures. Grateful for this recognition and for the opportunity to contribute to @festivalflora #FestivalFlora #ContemporaryArt #ConceptualArt #Sustainability #CulturalIdentity #InstallationArt #Cordoba #tadaocern #flowerinstallation #floralarrangement