‘HALID’ consists of six floodlights containing high-pressure discharge lamps (metal halide). One illuminated wall stands in contrast with the surrounding landscape. According to a phasing score, one or more of the spotlights turn off, creating “holes” along the illuminated wall, like a flaw in a system.

The installation is reminiscent of border surveillance strategies and freight zone lighting. The floodlights control or limit access, acting as metaphor: those that go out leave a gap, which either suggests a passageway or are the faulty elements of a system we want to make secure.

Questioning humankind's ability to build tools that enable it to reign over the living, ‘HALID’ invites viewers to reflect on the position of the powerful over the vulnerable, on the capacity to solidify a supremacist will over people and nature – and to provide structures and institutions to accomplish it, solidifying the laws and mechanisms of exclusion.

Florian Bach focuses on social violence, decrypting situations or issues that have complex political repercussions. His work deals with paradoxical questions of political existence, militant implication, demission, and rejection on the one hand and forces driving exile, uprooting, domination, loss and destruction on the other.

These references reveal the ambiguity related to various tools and materials he uses. The ambivalent functions of such objects and situations are being scrutinised: the gas cylinder, the axe, the rope, now for domestic use, now for violence. Bach confronts spectators with structures that often reject them. His installations can be crafted through a performative practice.