Edgar Sarin

Borrowed from Johann Sebastian Bach, the title Matthäus-Passion here refers to a composition of autonomous voices, each presence acting upon and transforming the others.

Passion is conceived as a state: a state of intensity in which the works coexist, encounter, and test one another. The artist situates himself among the histories, forms, and presences that have shaped him—not in order to synthesize them, but to sustain their tension, keeping it alive beyond the gesture of homage.

Matthäus-Passion is a space in which looking becomes, unmistakably, a physical experience; where art history is no longer a backdrop but an active material; where works do not merely enter into dialogue with one another, but persist alongside us, occupying the present as much as the space itself.c