Vastness Is the Sweetest begins with two forms of longing: Heimweh^* and Fernweh^*. One turns towards home, the other towards elsewhere, yet both carry the same Weh^* – an ache whose object changes while its pull remains. Across writing and sculptural works, the exhibition approaches longing as both wound and opening: a condition marked by absence and separation, yet continually drawing the subject towards what exceeds the present.

The works bring this movement into relation with everyday objects and the material traces of geopolitical histories. A salvaged billboard once stretched across the Genex Tower in Belgrade is fragmented and moulded within pigmented beeswax and dammar, while typewritten original texts move between lyrical writing and psychoanalytic inquiry. Words and materials intermesh, unsettling distinctions between home and elsewhere, memory and imagination, intimacy and history. Small things – a biscuit, a word, a fragment of fabric – come to carry distances larger than themselves.

Vastness thus gives a name to what cannot be contained. It names the multiplicity of places, relations, and possible lives that no single encounter can exhaust. The sweetest, in turn, locates this openness within the intimacy of ordinary life: in taste, memory, and the objects through which elsewhere persists within the here. The works inhabit this movement between attachment and departure, Heim and Fern, asking how what wounds us might also keep us open to the world. 

*Heimweh: homesickness
*Fernweh: the ache for the faraway
*Weh: pain/ache