The performance took place in a small hall in the V&A museum that exhibits sculptures of enlightenment thinkers. In the middle of the hall, there was a wooden modern see-through half-circle with benches. It separated the space into two – the inside of the circle and the outside. Four performers with a tiny selected audience were inside the half-circle. This group of people were in direct contact with the musicians and one another. Despite the intentions of the organisers, the audience grew bigger and, thus, the rest of the spectators gathered outside the inner circle.
According to Winckelmann the highest aesthetic standard was achieved by Greek artists who portrayed noble ideals through their artwork. He would probably note that space was well selected. Torsos of enlightenment thinkers in combination with a modern geometrical half-circle seeped with the classical music sounds pointed one’s mind to wonder towards geometrical perfection, rationality and reason.
However, the performance for those who did not fit inside was rather different. Cold tiled floor to sit or stand through the whole performance, facing the wooden wall of separation, surrounded by torsos – sculptures of torn in half and immortalised in white marble bodies created an impression of separation. The noble experience was available only to the selected few.