The historical rooms of the Saarländische Galerie at the Palais am Festungsgraben are chosen as a place of departure of transgressing borders between the real and the simulation. Alexander Stublić creates a computer simulation with different elements of the rooms, concentrating on transitions and changes, which intrude back into the gallery through 3D-video and light.
Visitors enter the tension field created by several distributed sceneries and followed by
Thomas A. Troge’s sound composition.
The term „The uncanny valley“ derives from computer graphics and describes an unexpected emotional reaction, if the displayed seems not real enough to match the fixed conception of the spectator to be evaluated as real - what is seen feels literally uncanny.
Starting point of the installation is the "Schinkel-Saal" with it's strong impact on the Saarländische Gallery. The Schinkel-Saal was once transported from a destructed
Schinkel-palais and reassembled at the Palais am Festungsgraben.