The installation draws on the architectural language of religious ritual and the performative dynamics of political speech. From the pulpit-like structure, a newly composed piece emanates, developed specifically for the church. In this composition, Bultheel weaves modal tonalities of the Middle Ages with contemporary sonic textures. Through delicate motifs, drifting resonances, and intentional repetition, the piece generates a charged atmosphere in which historical echoes become audible and contemporary urgencies resonate.

Accompanying the sound are a series of new wooden panels, recalling the detail and drama of medieval wood carving. These works portray inner states of apocalyptic life—rebellion, passivity, and escapism—sculpted as allegorical figures.

Influenced by Emil Cioran’s bleak aphorisms on the collapse of reason and the illusion of progress, and shaped by deep historical inquiry into authority, community, and belief, Bultheel’s installation becomes an exploration of sonic beauty and dissonant rupture. Within the charged stillness of the monastic church, the work opens a space for polyphonic memory and acoustic imagination—a fragile equilibrium between contemplation and unrest.