The installation Every Breath I Take attempts to breathe life into something inanimate. A space that has worked tirelessly, fulfilling its function and having no time to breathe. Until now. Finally, it is not there for others. It is not an atlas bearing the weight of the exhibited object. It just is. It becomes an alert part of the surrounding events. It slows down with ease and perceives the hurried movement of passers-by. The roles are reversed, and the gallery returns the gaze. Like its viewers, it is probably trying to find meaning on the other side. Together with it, however, past and future subway passengers can also rise above their own everyday lives – they have the chance to stop and just observe the plastic mechanical lung in a glass-covered reinforced concrete body.

The author of this artistic transplantation is František Albert D'Agostino (the Studio of Fine Arts II of UMPRUM), who this time leaves behind the surface of painting and seeks art in its processuality. He does not shape solid matter, but makes visible the emptiness that constantly surrounds us all. Here, the life-important air takes shape – an element that becomes the main motif precisely because we normally perceive it as mere nothingness.
Do we have to have things in front of our eyes in order to pay sufficient attention to them? What is the boundary at which looking at emptiness becomes meaningful? When is a gallery full of art, and when is it just an empty display case with a piece of cheap plastic on the floor?

As soon as the fan is turned off and the plastic falls to the ground, only recyclable waste remains. The temporary intervention ends, and the gallery stops breathing.