Thomas Feuerstein transforms the space of the Galerie Taxispalais in Innsbruck into a coherent ensemble of greenhouse, laboratory, cooling chamber and factory. Pipes meander through the exhibition, linking apparatuses and objects using algae and fungi; a synthetic hallucinogen is generated through a chemical process, and at the same time a viscous slime is produced; thick threads and steaks form a transparent, liquid sculpture. The psychotropic effect of the hallucinogenic substance causes solid objects to deliquesce in our perception and is reflected as a real process; the inner world of the psyche and the external world of the polymer slime begin to overlap. Thomas Feuerstein (*1968 in Innsbruck, lives in Wien) employs biochemical processes as a means of artistic expression for spectacular installations at the interface of art and a natural scientific experimental set-up, so he fragments scientific explanatory models and questions their claim to truth. The multilayered use of art media create new references, interlock the factual with the fictive and prompt the meaning. Where could this be better shown as in a concise compiled book by the artist?