The exhibition is conceived as a residential situation, where the individual works together form a complex spatial scenography. The works refer to the residential inventory. However, Masár disrupts the familiar form of things and turns them into absurdity. The theme of the presented works is not things, but concepts, being and dialogue that lead us – it is not about nouns, but about verbs. In this sense, the exhibition represents an analytical probe into the essence of things, asking the ancient philosophical question about what things really are and whether at their core they are as they appear to the senses on the outside.

Stano Masár’s work is, in the first layer of reading, playful, almost surreal like an unexpected meeting of an umbrella with a sewing machine on a dissecting table (Lautréamont). In the second layer, however, it reflects fundamental philosophical, often existential questions about the nature of life and space-time, the meaning and identity of things.

Masár thinks about each exhibition in terms of scenography and stages the works in space like a director. With minimal interventions, he deviates things from the axis of ordinary perspective and reveals a fantastic world saturated with a deeper meaning. Changing the perspective of vision and directing attention to the life of objects resonates with the speculative theory of object-oriented ontology, which questions the privileged position of man (anthropocentrism) as the creator of meanings and values. According to this theory, things exist independently of human consciousness and hide part of their essence from man. The exhibition creates the illusion of a special, magical environment in which things are not hidden, but on the contrary, they are shown in their authentic nature.

In the exhibition, Masár stages a fictional event of miracle or transformation – a cleaning mop leaves behind wooden parquet instead of a wet mark on the floor, a paint roller with white paint creates another wall in the space, or a wooden chair that disintegrates into sawdust. What is perceived as impossible or meaningless in the current world, the exhibition presents as possible, conceivable and even physically present images. The entire exhibition acts as an invitation to another world, where different physical laws and the logic of things apply. The distortion of reality accumulates in the space an atmosphere of mystery and the energy of tension from the expectation of what will come next. Stano Masár’s work is characterized by a sparing language with an emphasis on the implementation of ideas that have even philosophical qualities.

The current exhibition develops the idea of looking behind the curtain of the stage, into the true reality of the world, where things reveal their essence. So when the chair turns into sawdust, the question arises – what is it now? Is a round wall still a wall? Or, is a levitating chair broken down into its components still a chair, or is it something else? What is the relationship between concepts and things, and how do things relate to our knowledge? Are things the function they serve, or can they be something else? Masár once again disrupts the ordinary perception of reality and transforms the everyday into an extraordinary event (a festival).