the secret cabinet is hidden, but not private. anyone can visit it. in the secret cabinet there is no possession, but rather belonging. every one can adopt things, feel identified, but never possess – or to be possessed. its objects are no collection, although as many of them as possible are accumulated in here. objects are allowed to be as they are, visitors can simply act as they want to react. for that it is a place of intimacy. the secret cabinet is above all a place of generosity; here the indispensable necessity of communicating meets with the most intimate anxiety for learning. by proposing a framework for formulating a question, the secret cabinet dreams of turning into a better reality.

the secret cabinet is all staging, and thus not mere dispositio, but truly a set for producing. its form reproduces and reflects at the same time as its content. the secret cabinet reduces an exhibition to its most intimate moment of production of knowledge. it is the public symptom of curators, artists and scholars.

in the secret cabinet, handshakes and toasts are completely avoided. it is an exhibition without event akin to a body without organs. the secret cabinet insurges and claims a dialog in quietness between exhibit and visitor. it boasts an interest and will to ’see-and-hear-each-other-again‘. the secret cabinet yearned for the original curiosity that led to the wonder of learning. it missed the fetish delight of confronting with other things – and through them with one self.

the secret cabinet itself formulates a conclusive question. its answer is beyond a hole, in a hallway as well as in the middle of a heartbeat.