Specchio del Mare combines a parcours of several works and work-series from 1968 until today.

Their subject matter circulates around the consciousness of limited resources and the disappearance of species, which become manifest in the destruction, the period of the anthroprocean, which had its beginning in 1492.

Chromogenic prints from the series Culture – Nature [1968-72] are present in each of the gallery spaces. This photographic essay contains several ephemeral sculptures which became important also for the storyboard of the film Origin of the Night [Amazon Cosmos] 1973-77. Those three-dimensional interventions took place mostly outdoor in the streets, parks or at the periphery of the city. Often left behind they were relinquished to themselves. The ephemeral characteristics of their materials made the progress of time and the decaying process visible and detracted them therefore from the market.

The images accompany the canon of wall drawings [river pieces, 1977-85]. Abstract configurations, composed out of South American native river names that figure as veins in the landscape body. A reflection about mapping time and the perished tongue of nonwriting cultures. Their deceasing languages survive only as place names in our maps. We see mirroring images and witness the encounter of varied systems of thought, which make the boundaries between animism and linear scientific western thought visible.

The vast wilderness of the Guayana-shield (gelatin silver prints from the Montaigne series 1977) provide an inside to the aroma of geography.

The marble floor piece America names Amazonian rivers: - Amazon - Orinoco - Tapajos - Purus - Xingu – Tocantins - Vaupes. It was shown at the 41. Biennale di Venezia in 1984 dominates the central space of the gallery.

Mirror pieces from 2004/05 correspond with the mirroring walls at the center room of the piano nobile. Five large renderings of medieval ship models signify the technology at the time of the discovery of the New World and the beginning of a drastic climate change.

The parcours continues with the slide projection, A Voyage with the MS Remscheid on the Amazon ... (1968-72), which was first shown at documenta 5 in 1972. It combines in a ’story board’ many layers of the artistic discourse and content which is present throughout the works. Nachtflug (Nightflight) is another floor piece about bird migration from 1968/69. The materials are maps, camouflage nets, molehills and goose quills. The ethnographic film kanawa yãnomãmi, (16mm, 24:46 min.) 1979, closes the circle of the parcours. An exhibition for the senses and the mind, embedded in the given architectural context, it speaks about the melody of its materialization.