KASANOMADUM

Consisting of just a few varied elements, the nomadic architecture KASANOMADUM appears as a form ever capable and ever in need of change – like a movement, which an existing piece of architecture absorbs and captures, so as to turn it around, and send it back, from the inside to the out. It reveals that aspect of the architecture in which it appears that cannot be seen. It leads a life of its own and is visiting Kunstnernes Hus in Oslo. And in showing something other than just itself, it recurs in everything that can be seen.

It reterritorialises itself, a process I have called functionalisation.
KASANOMADUM is the other side of all and any space in which it appears. KASANOMADUM produces and conveys the obverse of the space, the obverse of the sedentary space:

the nomadic space

The construction of this space of our imagination is the construction of a movement contrary to the existing construction of the space we assume to be reality. It is not the space of a counter reality, but rather the obverse of the space of our reality, without which this reality would not exist:

the space of the fiction

The space of the KASANOMADUM is the space of roving thoughts. Reterritorialised, I call them fixed ideas. It was through KLARAKASA, which in 1992 became the first home of these roving thoughts, that fiction became fixed as fixed idea.

In the meantime these fixed ideas have been subjugated by the pragmatism of our reality. They were contextualised, in order to check whether they were sufficiently resilient. Thus we have had, in 1994 BESINKASA, in 1995 , in 1999 KIOSKKASA, since 1999 Ausstellung der Ausstellung (Exhibition of the exhibition) and in 2001 DEPOT. Temporary pieces of architecture were erected and variously occupied according to various needs. They transformed themselves and adapted to the diverse requirements of the sedentary, which was thereby brought into question so as to dissipate its determinative character.

KASANOMADUM deterritorialises the space that it occupies, lending the external space a temporary form. This thereby comes into being in the spatial and temporal continuum of a movement, which signifies mobility and change, in a way that grants roving thoughts form and space as fixed ideas. All things prospective, approximate, possible and unconcluded temporarily find their spaces, become contextualised and are – decontextualised.
This wandering around, this roaming among the possibilities of fiction knocks holes in the bearing capacity of the real. KASANOMADUM is a machine for the production of art, and simultaneously a dispositional device through which it is shown.

Matthias Lengner