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BACKROOMS - Group Show

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Lobby
Jan Domicz
@_form_at

Hotel without a lobby. A flat turned into a hotel room. „Lobby” is an exhibition composed out of readymades.
Some are readymades in the classic sense. Found objects designated as art. Used lockboxes for keys had been stolen digitally or using a battery powered grinder.
Others are spatial. As the gallery. Its interior is occasionally altered into a hotel lobby. Something lockboxes need. Common space used for the profit of one.
I like readymades because they bring up the question of function. What is it for. If I fill my flat with water is it still an apartment or rather a fishing pond. Sorry downstairs neighbour, the ac unit is rather loud. taken in Warsaw, Poland by @_form_at

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6 days ago

cross cutting edit between:
- a gallery space with airbnb lockboxes
- the same space rebuilt into a hotel lobby

on view at @_form_at
made with generous support of @francesco_de_prezzo and @deconstructie by @_form_at

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10 days ago

„Lobby” now at @_form_at by @_form_at

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10 days ago

Lobby
Jan Domicz - @domicz

18.09.26-25.09.26

Hotel without a lobby. A flat turned into a hotel room. „Lobby” is an exhibition composed out of readymades.

Some are readymades in the classic sense. Found objects designated as art. Used lockboxes for keys had been stolen digitally or using a battery powered grinder.

Others are spatial. As the gallery. Its interior is occasionally altered into a hotel lobby. Something lockboxes need. Common space used for the profit of one.

I like readymades because they bring up the question of function. What is it for. If I fill my flat with water is it still an apartment or rather a fishing pond. Sorry downstairs neighbour, the ac unit is rather loud.

#jandomicz #form #format #formatspace #lobby by @_form_at

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14 days ago

Lobby
Jan Domicz - @domicz

18.09.26-25.09.26

Hotel without a lobby. A flat turned into a hotel room. „Lobby” is an exhibition composed out of readymades.

Some are readymades in the classic sense. Found objects designated as art. Used lockboxes for keys had been stolen digitally or using a battery powered grinder.

Others are spatial. As the gallery. Its interior is occasionally altered into a hotel lobby. Something lockboxes need. Common space used for the profit of one.

I like readymades because they bring up the question of function. What is it for. If I fill my flat with water is it still an apartment or rather a fishing pond. Sorry downstairs neighbour, the ac unit is rather loud.

#jandomicz #form #format #formatspace #lobby by @_form_at

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16 days ago

BACKROOMS
At @_form_at

In Kane Parsons’ Backrooms, the protagonists explore a space that should not exist: endless yellow corridors, fluorescent lights buzzing without pause, a damp carpet that absorbs every sound. A liminal, suspended place, where time seems to have stopped, or perhaps never begun at all.

Starting from this unsettling and rarefied dimension, we invited the artists to imaginatively enter a Backroom.

In this new experiment, time expands: it becomes slower, porous, unstable. The works , or, more precisely, the images that derive from them, no longer arise from a direct encounter with reality, but pass through the photographic medium as through a threshold. They are filtered, delayed, deformed, until they lose part of their original clarity.

Each image is thus charged with a blurred memory, a residue that seems to emerge from the very recollection of the Backrooms themselves. It does not simply document a work, but retains an uncertain trace of it, as though something had been imprinted after passing through another space.

Within this coordinate-less place we have constructed, the works lose their initial sharpness and take on a dreamlike, stratified quality. They appear as images that have survived a distance, carried into the memory of a place we have never truly inhabited.

#exhibition #backrooms #form by @_form_at

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a month ago

Jan Willem Deiman, Sneak Giffer (cw), 2026, 50 cm x 37 cm, painted steel.

This work is part of BACKROOMS - currently running group show at @_form_at at - @janwillemdeiman
Jan Willem Deiman’s work explores the relationship between signs, contours, shadows and architecture. Within the Backrooms, the work appears both foreign and strangely plausible. It could be read as a letter, a floor plan, or the outline of a vanished structure. Its meaning remains open, suspended between language and architecture, presence and trace.

#form #janwillemdeiman #backrooms #liminal #metal by @_form_at

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a month ago

Theodor Nymark, Untitled (Gl. Hellebækvej), 2025
Stadium plastic seat, decorative frosted apples

This work is part of BACKROOMS - currently running group show at @_form_at - @t____n97
(...) Starting from this unsettling and rarefied dimension, we invited the artists to imaginatively enter a Backroom.

In this new experiment, time expands: it becomes slower, porous, unstable. The works , or, more precisely, the images that derive from them, no longer arise from a direct encounter with reality, but pass through the photographic medium as through a threshold. They are filtered, delayed, deformed, until they lose part of their original clarity.

Each image is thus charged with a blurred memory, a residue that seems to emerge from the very recollection of the Backrooms themselves. It does not simply document a work, but retains an uncertain trace of it, as though something had been imprinted after passing through another space.

Within this coordinate-less place we have constructed, the works lose their initial sharpness and take on a dreamlike, stratified quality. They appear as images that have survived a distance, carried into the memory of a place we have never truly inhabited. (...) by @_form_at

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a month ago

Theodor Nymark, Chapel (after Calzolari), 2025, Foam board, reflective vinyl, textured vinyl, lemon-scented mosquito-repellent candles.

This work is part of BACKROOMS - currently running group show at @_form_at - @t____n97
(...) Starting from this unsettling and rarefied dimension, we invited the artists to imaginatively enter a Backroom.

In this new experiment, time expands: it becomes slower, porous, unstable. The works , or, more precisely, the images that derive from them, no longer arise from a direct encounter with reality, but pass through the photographic medium as through a threshold. They are filtered, delayed, deformed, until they lose part of their original clarity.

Each image is thus charged with a blurred memory, a residue that seems to emerge from the very recollection of the Backrooms themselves. It does not simply document a work, but retains an uncertain trace of it, as though something had been imprinted after passing through another space.

Within this coordinate-less place we have constructed, the works lose their initial sharpness and take on a dreamlike, stratified quality. They appear as images that have survived a distance, carried into the memory of a place we have never truly inhabited. (...) by @_form_at

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a month ago

Raphael Pohl, north, south, western (mumble), 2024-2026, lamp diffuser and left-behind sports bag. Schönbrunn underground station. Dimensions variable.

This work is part of BACKROOMS - currently running group show at @_form_at - @raphael_pohl_daenke
(...) Starting from this unsettling and rarefied dimension, we invited the artists to imaginatively enter a Backroom.

In this new experiment, time expands: it becomes slower, porous, unstable. The works , or, more precisely, the images that derive from them, no longer arise from a direct encounter with reality, but pass through the photographic medium as through a threshold. They are filtered, delayed, deformed, until they lose part of their original clarity.

Each image is thus charged with a blurred memory, a residue that seems to emerge from the very recollection of the Backrooms themselves. It does not simply document a work, but retains an uncertain trace of it, as though something had been imprinted after passing through another space.

Within this coordinate-less place we have constructed, the works lose their initial sharpness and take on a dreamlike, stratified quality. They appear as images that have survived a distance, carried into the memory of a place we have never truly inhabited. (...) by @_form_at

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2 months ago

#backroom #form by @_form_at

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2 months ago

@oscarlourens

(Part of BACKROOMS- New group show at @_form_at )

(...) Starting from this unsettling and rarefied dimension, we invited the artists to imaginatively enter a Backroom.

In this new experiment, time expands: it becomes slower, porous, unstable. The works , or, more precisely, the images that derive from them, no longer arise from a direct encounter with reality, but pass through the photographic medium as through a threshold. They are filtered, delayed, deformed, until they lose part of their original clarity.

Each image is thus charged with a blurred memory, a residue that seems to emerge from the very recollection of the Backrooms themselves. It does not simply document a work, but retains an uncertain trace of it, as though something had been imprinted after passing through another space.

Within this coordinate-less place we have constructed, the works lose their initial sharpness and take on a dreamlike, stratified quality. They appear as images that have survived a distance, carried into the memory of a place we have never truly inhabited. (...) by @_form_at

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2 months ago