THE END OF PYRAMIDS

It is almost funny to attempt to express the subject of death directly in words. It proves difficult, as if language, in its very effort, always clings to various realities and concepts—however philosophical or profoundly metaphysical they may be. On the other hand, death is something that every living being in the world, in one way or another, must relate to. This creates a beautiful and rather unique paradox: although the experience of death completely eludes the knowledge of any one of us, it is also something that concerns us all, without exception. I do not wish to draw any conclusions here, yet for me, at least, this paradox partly characterizes the experience of death, making it quite a unique phenomenon.

I believe that art can carve a much shorter and more direct path to such themes. Dominik Adamec’s project The End of Pyramids consists of twenty-eight conceptual ideas, each a distinctive work in its own right, forming a complex artistic synthesis of carefully layered references. Some take the form of ceramic funerary urns of various sizes, shapes, and colors. Each carries its own semantic message, engaging with language, dualities, or representation, and at first glance, their intricate craftsmanship and vibrant colors are striking. Others appear as small drawings that have been transformed into temporary tattoos, placed between the pages of his first author book named Sterben Ist Mein Gewinn.

When Dominik and I first began discussing this project over a year ago, the initial premise for these emerging objects was today’s detached approach to death. Humanity has literally pushed its existence to the margins of awareness—rendering it unimaginable, too distant to grasp.

As a result, encounters with death become all the more unsettling. On the other hand, embracing mortality—the ability to live with death—may, in a way, bring us a sense of inner peace and balance. The idea of acquiring a vessel for one’s own bodily remains during one’s lifetime could be one possible way to embody this understanding.

Moreover, Dominik’s urn-sculptures often explore different aspects of human relationships—how we act toward ourselves, our surroundings, and other beings—frequently from the perspective of negative actions. They thus serve as a critique of individual behavior and societal norms, holding the potential not only to remind us of our own mortality but also to prompt self-reflection in life.

Each urn contains a multitude of intricate details and cultural references, forming often unexpected connections. These connections have the power to provoke questions and disrupt the stereotypical perception of death—one that is shaped by how we speak of it and, therefore, how we think about it.

curatorial text by Michal Jaluvka