Of all the forms the world contains,
none is so restless as man;
he travels over sea and land,
and draws lines where no boundary ever began.
He names the earth: flat, round, or hollow, …
and locks it in a fragile scheme;
he seeks for proof in air and soil,
yet shapes his findings to fit what he deems.
He tames the beast, the measure, word, and wind,
and bends the storm to match his own desire;
yet still he weaves together truth with doubt,
a slender thread that holds and weighs him entire.
No force but doubt escapes his grasp,
no fear he does not strive to overcome;
but when the ground of knowledge gives beneath him,
each form and proof collapses, all undone.
O sharpened mind, so powerful and so clear,
guided by measure he can steadfast be;
but should he crown himself the only truth,
he builds on air—and falls with all he sees.
In the exhibition ‘All Tomorrow’s Parties’, a contemporary tragedy unfolds in which three versions of the Earth exist side by side. Each worldview speaks with equal certainty, claiming to hold the truth. Images, voices, and signs attempt to persuade the viewer, while doubt quietly lingers in the background. What we know reaches us through screens, books, and mediated authorities, far removed from direct experience. Conviction becomes a matter of choosing rather than questioning. The title, inspired by William Gibson’s All Tomorrow’s Parties, gestures toward a world caught between overlapping futures, where reality is shaped in transitional zones rather than fixed conclusions. Between black and white, the space for nuance, dialogue, and mutual respect slowly disappears. This exhibition invites the viewer to step back into that fragile in-between space.
