Along with the theatrical architecture of the Marta Herford Museum, the three areas known as Sudeltherme, Clapsmule and Kaiser form the Nieteum. Depending on which direction the visitors take, they will enter the installation via Kaiser or Sudeltherme. The dramaturgy of the rooms corresponds to the internal logic of the myth. However, this logic is not necessarily legible. The recipients do not have to perform any intellectual feats in order to have an experience. The process of simply passing through creates a narrative, and the immediacy of the chosen material allow for elementary impressions of space. It is in transit that perception begins to change. Real and fictional elements of the spatial collage merge to form an overall narrative.

The space of the long gallery is divided with light textiles. Now the skylights are important parts of the room and, together with the high-contrast lighting, form the basis of the theatrical illumination of the scenery. On the opening evening, the small square in the Kaiser served as the stage for the performance of Il Torciere. A choir of carbon monoxide fire extinguishers ceremonially handed over the Nieteum to the public. Time plays an important role at the moment of perception and it increasingly inscribes itself into the installation over the course of the exhibition. The visitors trample down the loosely scattered rubble, creating pathways that are useful for crossing these barriers. In a figurative sense, these self-selected paths are the best way through the Nieteum for the visitors.

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