When Nirsa was asked about this project the response was both frugal and poignant: “I had to do it, there is just something fascinating about the idea of a miniature, the problem of scale, the weight of inferiority and all the other adversities that can haunt an old city”. There were some comments about an impressionist painter and how Goethe’s theory of color is fundamentally linked to the phenomena of light, but not much more than that. 

What we can see in the graphic studies associated to the project seems mechanic, somewhat repetitive, and obviously focused on the possibility of getting closer, as if the task proposed by the miniature was all about zooming in. Indeed an expression of scale, but maybe also age. The graphic means are fairly primitive, but for some reasons that doesn’t bother us. We see someone thinking with lines. It manages to layout some basic rules. It’s descriptive, numerical, geometric. It feels like if everything said is true, except for some of the facts. In this web of diagrams and calculations we are the machinery. We are invisible to ourselves, unexplainable to ourselves. 

Nirsa is reportedly just a scrivener for this project, facilitating the graphic foundation and main symbolic coordinates. If these sketches are indeed the workings of a collaborative effort that will result in a 2D audio-visual experience, as was explained to me, I am curious of how all these people, places and destruction apparently knitted together are going to sound like.

H.F. — Munich, 5 de abril de 2026