I will now prepare you in a few words.
As light-flooded as paradise is imaginated normally as deep black is the situation here. Total - like the term 'paradise' which touches the otherworld - as total is this installation. Of the actual exhibition ensemble almost nothing has been left. Dark and massive the black of the cellar extends into the street zone, totally covering everything the street noise conceals the exhibition contemplation and ebbs away only in the lower floor.
Behind the glas shield outside the machine giants rush in their lines as if everything here was not there.
Where are we here? Seemingly in a lobby or entrance cave.  We notice each other out in the shadows, sight is not capable of much, is not flooded by pictures, the more important becomes the little than can be noticed. Crypt-like another cave follows downwards.
Bevor the visitor dares to enter these cryptic chambers, the eyes wander around and see almost....nothing. One could as well close the eyes. But it is as it often is in sleep as well, that one knows the eyes are open, but still does not see anything
This inner as out is programme here. We do not meet the strange eye at the cutting border of the surface of the picture but rather look out of the eyes of the man on Caspar David Friedrichs cliffs
The black box has been extended to the outside so-to-say, so that the visitors can look around together in the inner of the other. Look around? It is more about a sensitive exploring, sensing-out.
Siegmund Freud relocated Platons cave of knowledgeas black box  into the hu- man inner of the senses gadget of the soul, an analogy to the photocamera, which was new at that time. In the inside of the gadget it is deep black, so that on a sensitive layer the lightning-like light stimulations could be stored carefully one after the other. By this Freud thought anew of the metaphore of the wachs board, the board into which signals are scratched to become permanent as a potential in the wachs of the soul after removal of the level of parchment, even though it is no longer visible on the surface. 

There are signs, that are comparably all turned to reception, we find here on the walls, black mirrors, arranged like horizons, which do not let the eye free to explore space,  but rather just be as signs - pointing to coming into being-, storage space hermetic and open at the same time.
By being and in their form of appearance they establish a pattern in the device of perception of the onlooker which acccompanies him/her when going down to the lower rooms. After entering underneath the horizon to the lower levels, only 5 people should be there at the time if possible,  still, if possible, to be able to watch the process of the inner-outer perception on themselves. You will find  a track downstairs, which Carl Vetter has disclosed in regards of the subject.
A very personal memory of his childhood in Weimar, which appears in the dim light of the inner storage and asks for where the destination actually is, what makes one go.
Somebody once said, memory is a paradice from which nobody can expel another one. Carl Vetter expresses specifically the question, if what one sees there is or was paradise-like. The impression appears - in the black box - stored, awaiting to be deciphered or activated.
Like Carl Vetter expresses here sensibly an inner landscape, he remembers what he finds outside. Very carefully he deals with the so-called nature, which he experiences as landscape. In contrary to land-art-artists of the 60ies and 70ies of last century, like for example Walther de Maria or Michael Heizer. For him it is not about expelling so-called chaos by installing a metrum in it.
The romatical differentiation between nature and conciousness is of interest for him in a very different way: "Kein zurŸck zur Natur - aber ein Wieder NŠherkommen durch sich Aussetzen, sich selbst als Teil von und in Natur erfahren, ein Vergewissern der eigenen Existenz an Natur," (not a back to nature, but a come-close-again through exposing, experiencing oneself as a part of and in nature, making sure of the own existence being part of nature", quote of Carl Vetter in a catalog of 2003 about dealing with nature and further: "...dem Betrachter die Mšglichkeit ... geben, sich selbst in einem natŸrlichen, verŠnderten Umfeld zu erleben". (to give the onlooker the possibility to experience oneself in a natural, changed environment).

In this sense I wish that you will have enlightening experiences with yourself  in this darkness. Thanks to Carl Vetter for those impulses and to you for your attention.
Drinks can be purchased upstairs, smoking only on the street please and ...please do not touch any foils downstairs besides the curtain to the washroom, those are very fragile, as everything.
 
3/2005 E. Suhr