A natural space receives excessive light. Industrial illumination floods the riverbank – harsh and disproportionate. Brightness becomes an intruder. The zone appears under constant scrutiny, as if requiring perpetual observation. From above, the audience scans for anomalies, for something concealed. Nothing emerges. Only moments when projectors dim without cause, flicker, or fail.

‘SPILL’ speaks of resource exhaustion and a world nearing collapse – one from which humans have distanced themselves. Observed from height, detached, this fragment of land appears unreal. It knows no night rest, no pause. The light enforces human presence even in absence. The viewer stands not as observer but as participant in the logic of control.

Florian Bach's practice often deploys everyday objects – axes, gas canisters, urban lighting – to reveal their ambivalent functions: domestic and aggressive. His work deciphers social violence while poetically exposing mechanisms of humans’ domination over each other and the living world.

Florian Bach focuses on social violence, decrypting situations or issues that have complex political repercussions. His work deals with paradoxical questions of political existence, militant implication, demission, and rejection on the one hand and forces driving exile, uprooting, domination, loss and destruction on the other.

These references reveal the ambiguity related to various tools and materials he uses. The ambivalent functions of such objects and situations are being scrutinised: the gas cylinder, the axe, the rope, now for domestic use, now for violence. Bach confronts spectators with structures that often reject them. His installations can be crafted through a performative practice.

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