Haus Der Lüge

„Haus Der Lüge” is an attempt to capture the tension between the invisible and the material — between mystical experience and its cultural forms of expression. The point of departure is not religiosity understood in institutional terms, but spirituality as a practice, as a way of organizing relationships between the body, the world, and that which exceeds language. Mysticism appears here not as an intensification of reality, but as a particular mode of perception that destabilizes fixed categories of subject and object, nature and culture. In this sense, the key cinematic references informing the project — the radical corporeality and mysticism that emerge from „Teorema”, and the primordial, brutal vision of creation present in „Begotten” — mark two poles of experience: revelation and disintegration. The exhibition poses questions about the individual’s sense of vulnerability in the face of that which resists rationalization, such as God or death. Drawing on elemental interpretations, the artists do not separate death from creation, nor love from hatred. The Absolute emerges as a kind of „pharmakon”, one that both grants and takes away life. Rituals, in this view, do not disappear entirely; they merely disperse. The artists gathered in the exhibition seek common ground between liminal states — within this framework, salvation cannot exist without sin. Employing an aesthetic that lies somewhere between horror and psychological drama, the exhibition asks how the boundaries betwee the sacred and the profane become blurred within a secularized society. An increasing desire to possess obscures our most fundamental need: the search for connection with something mystical. Religion appears here as one possible substitute for this feeling, yet one that ultimately struggles to contain it. It functions as a miniature, mistaken for the image itself, from whose likeness an illusion is produced. In this context, the works presented in the exhibition become membranes of fear — images that shape our sense of belonging, value, and mysticism. The exhibition also engages with the motif of a fractured self — a mystically charged event capable of driving an individual toward madness by disrupting an established order. An inconspicuous gesture, or at times an ambiguous figure, opens the way toward a new constellation that eludes moral classification. The artists participating in the exhibition propose modes of perception that unsettle conventional distinctions between self and other, nature and culture. An important context for the works on view is also the thought of Rudolf Steiner, especially his conception of knowledge as a process of spiritual transformation and his idea of the interpenetration of material and immaterial dimensions. Spirituality is not presented here as a closed system of knowledge, but as a field of tensions and discontinuities. The works assembled in the exhibition avoid literalness. New works by Mikołaj Sobotka explore material experimentation, creating blurred and unsettling dreamscapes in which concealed symbolism erodes the boundaries of fantasy. Themes of initiation and solitude in encounters with something primordial also emerge in the works of Radosław Chorab. Czaro Malinkiewicz and Milan Zientara invite viewers into a game of appearances, where the aesthetics of horror reflect the hidden projections of human existence. A central motif of the exhibition is mud — an ambivalent, liminal material situated between form and formlessness. Mud not only evokes primordial myths of creation but also points to rocesses of continual becoming and decay. It is simultaneously lowly and corporeal, yet potentially generative. In the context of contemporary life, it may be understood as a figure of excess and contamination, but also as a space of resistance against a sterile and disciplined vision of the world. The open character of the exhibition manifests itself in the construction of its narrative: nonlinear, fragmentary, and grounded in affect and intuition. Instead of fixed meanings, there are displacements and moments of suspension. The viewer is invited not so much to interpret as to experience — to enter a state in-between: between matter and spirit, form and dissolution. „Haus Der Lüge” reflects on humanity’s pursuit of spirituality, a pursuit that can assume many forms. The ultimate sacrifice is suffering that brings no relief. Bones grow heavier and break through one wall after another.