A historic train station becomes an exhibition site for a contemporary art installation: this project with its accompanying publication can, in actuality, be reduced to this simple formula. But not just in actuality. Because, in truth, it is about so much more, of course, as is so often the case with art. For one, it’s about the past, present, and future of train stations and their significance—not just as transportation hubs, but also as a completely unique form of public space. For another, it’s about the role and impact of art in these kinds of specific contexts, which, although they set formal boundaries, also conceal much creative potential, both contextually and visually.

In his installation Odzuck plays with irritation and illusion. In passing, space, time, and context all shift in a similar way, seemingly like moving pictures edited together in a film. At the center of Odzuck’s artistic interpretation of the historic display cases at the train station is the idea of associating them with natural history museums and chambers of curiosities, which led him to outfit them with spectacular “found pieces”: accurately detailed models of prehistoric or future terrestrial or extraterrestrial minerals, organisms, and landscapes that appear to come from fantastical-looking micro- and macro worlds. Odzuck discusses the precise contextual backgrounds and the technicalities of creating his project in an interview published in a accompanying book. In accordance with the idea of the Dammtor Teatrino Scientifico, this publication is also not just an informative companion book, but also a substantial expansion of the whole project, designed by Christian Odzuck himself, entirely in the sense of a real artist’s book, which invites readers to take an inspiring journey of discovery.