It Is Said That Ormek Foretells Storms

It is said that Ormek foretells storms, But nothing appears alone.
Things carry traces of what they have passed through, even when these can no longer be recognised. Over time, these traces accumulate. Each becomes part of something else, forming relations that cannot be taken apart without producing something new. Nothing here begins. Nothing here ends. Things simply become distinguishable for a while.

An image by Arnaud Bostelmann shows a small sculpture, itself made from images of earlier sculptures. Reimagined and enlarged, the image detaches itself from its original meaning. It no longer functions as a representation, but becomes a sculpture: assembled, suspended, unfinished. At the same time, it remains composed of 84 individual images. Each can be separated again, becoming the possible beginning of another uncertain evolution.
Through this continuous accumulation and transformation, another reality begins to take form. Its logic is not predetermined. It emerges through encounters between materials, images, machines, hands and histories. None takes precedence over another. Each alters what it encounters and is altered in return. From this uncertainty, a set of creatures begins to emerge, forming a mythology without origin.
Forms appear for a while. Some acquire names. Others recall things seen elsewhere, without revealing exactly where they came from. What appears here is not a final state, but a temporary constellation within a landscape that continues to change. Every translation invents the thing it claims to preserve.

Truwant + Rodet + is an architectural practice founded in Basel in 2015 by Charlotte Truwant and Dries Rodet. Their practice operates at the intersection of architecture, landscape, urbanism, scenography, installation, furniture and research. Attentive to territorial dynamics and the transformation of existing structures, they approach time, uncertainty and environmental conditions as materials in their own right within the design process. Rather than seeking to fix architecture in a permanent state, their work aims to create structures capable of evolving, altering over time and engaging with their context. This approach runs through their buildings as well as their research, exhibitions and objects.

IMI is an entity that grew independently out of the practice of Dries Rodet. It serves as a container for an ongoing research into new realities, where the physical, digital, natural and artificial coexist without clear boundaries. Its work begins with environments, understood as entanglements rather than settings, and with the forms that emerge from the processes through which they are produced. These processes, whether digital or physical, bring their own logics and limitations, acting upon one another and becoming part of what is produced. The work never reaches a final state but unfolds through a continuous process of transformation, where each new production cannibalises what came before.