Baroque as a metaphor for drama, stage and façade: Alexander Stublic lets us peer behind the very façade(s) of the Karlsruhe Palace – which itself was renovated in 1966 – and lets the building itself become a character in the performance. Figures from the Cour d’Honneur travel as an ensemble through seven scenes of interplay between history and present, between reality and a theatrical exaggeration thereof. Fragments of the palace act on revolving stages, the Baroque topos of the mirror is understood as a two-sided symbol – of the passage of time on the one hand and the artistic breach of illusion on the other. 

Forest elements, figurative oversizes and metaphorical colour play in dark blue and red reinforce references to the spiritual sobriety of Late Baroque cultism: glimpses of these in an imagined sub-stage illustrate the multi-layered nature of both the scenes depicted as well as the projection itself.