The reclaimed materials (weathered timber, rusted steel) function as palimpsests of histories that have been erased, repurposed, or suppressed. By re‑contextualizing these artifacts within an aesthetic of renewal, the artists comment on the possibility of reconstructing memory from debris. The soundscape’s field recordings—snippets of daily life in different locales—act as auditory fossils, preserved and reassembled. Naomi’s choreography, especially the “folding” gesture, symbolizes the act of re‑folding these fragmented memories into a new narrative.
“Kvetinas Sergei Naomi” unfolds in three interlocking sections—Cartography, Resonance, and Embodiment—each occupying a distinct spatial zone within the exhibition hall but linked through a continuous sound field and a mobile performative thread. kvetinas sergei naomi
Naomi’s presence as the sole live performer foregrounds gendered labor within the collaborative process. While the Kvetina brothers and Sergei construct the static and sonic infrastructure, Naomi’s body becomes the site of labor that animates the work. This inversion of the typical “male‑made object + female‑made gesture” paradigm invites reflection on how contemporary art often relegates women to performative roles. The piece, however, subverts this by granting Naomi agency over the mechanical triggers that alter the environment, suggesting a reciprocal economy of labor. While the Kvetina brothers and Sergei construct the
Design and content ©Jurgen A Doornik.