TRILOGY OF COLLAPSE The artist recognizes himself in the world as if he had already been there—or as if he will return there from the future. From these recognitions, he attempts to create one more version of himself. This attempt unfolds through a sequence of collapses in which no form remains stable for long. Performance becomes data. Data attempts to become an object. The object dissolves into a signal. A human operator desperately tries to stabilize the signal as a message, yet the message cannot survive in a world where shared truths have fragmented. It collapses once again, reappearing as a painting. The painting remains permanently unfinished because, every day, it absorbs new traces of the process.
METHODOLOGY Throughout the exhibition, everything is in continuous transformation. New paintings, sound fragments, online transmissions, and performative interventions accumulate around a single painting that remains permanently unfinished. Kadele operates within these transitions, navigating the unstable territory between the body, technology, memory, belief, and cultural collapse. For the viewer, the work resists definitive identification. The artifact can no longer be reduced to a single object. It exists through a chain of transformations that continues long after the event itself. The artist constructs himself as a temporal object: Recognition → Negotiation → Performance → Painting → Signal → Recognition
PERFORMANCE The artist deliberately maintains himself in a permanent performative state in which ordinary situations begin to function as instructions. He recognizes echoes of himself in bodies, conversations, coincidences, gestures, objects, and social situations. These recognitions are recorded as sound, photographs, video fragments, and texts. On his online platform, and simultaneously within the exhibition space, a daily circulation of fragments is continuously broadcast. The negotiation between human and algorithm becomes visible as these recognitions are translated into temporary instructions. Guided by these instructions, the artist performs live in the exhibition, translating algorithmic instructions into new forms: performance, sound, and the process of producing a large-scale triptych painting that remains the central object of the exhibition. There is no announced schedule for the performances. Every action is transmitted live and simultaneously archived through the online feed and monitors installed within the exhibition.
The viewer naturally gravitates toward the painting, recognizing in it the familiar promise of permanence associated with the traditional art object. Yet the painting changes every day. It gradually becomes the central object of an intermittent ritual that appears without announcement and disappears again. The work can be experienced both online and in the exhibition space. Within the exhibition, visitors encounter the artist's live interventions together with the traces of previous actions through monitors, sound, texts, and remaining objects. They also encounter the painting itself in a different state each day. Online, visitors follow both the live stream and an archive of previous video recordings and earlier stages of the painting. They may also submit their own prompts—instructions suggesting future actions for the artist. The ongoing negotiation between human and algorithm translates these prompts into ideologized texts.
STATE OF COLLAPSE Painting, performance, text, video, artificial intelligence, and digital traces do not function as separate media but as temporary states within the same process. Each form emerges from the failure of the previous one. Together, they construct a provisional system of belief—a ceremony dedicated to a god that does not yet exist. The painting becomes a device for transmitting possibility into the future. Around it, the collapse of forms begins again, unfolding as fragments of a ritual shaped by the uncertainty of whatever comes next.
