“Larger processes of cultural significance”: this is what of the brochure of Gare du Nord contained and released in reference to the piece of Sonja Bäumel. This statement gained more significance from the second week of the exhibition period onwards as the artwork has indeed faced a growth that challenged its own structure, materials, its author, its environment, the other pieces in the show and all the different individuals related to it, such as the curator and all the visitors.
Nome omen, names are omens: the expansion of 'Expanded self n. 2' took place in particular in relation to the anatomical theatre, its air, its humidity, its conditions. The process of cultural significance of the exhibition follows this extremely powerful expansion as now other themes and layers are added to the numerous histories already documented in the space and the show: how can perception still be conditioned? How can an artwork ideally take over its own life and decide for its destiny?
When was exactly the turning point? How can it still be preserved and documented? How did the microorganisms relate to a bigger context? What is now the legacy that the artwork leaves behind? How is its nature being determined?
'Expanded self n. 2' is now resting in the artist studio, whereas some bacteria still float in the space of the Waag.