Standort Delphi

Standort Delphi, Annual exhibition of the communal gallery of Berlin-Marzahn, Germany 2015.


Ceramics, plastics, wood, glass, soil, brochure display stand (metal, wood, acrylic glass) (dimensions variable) and two brochures:

—„The Ancient Omphalos at Delphi: Geometrically a Space-inverting Anamorphoscope, 2015 (emanating from excerpts of the eponymous paper by P. W. Kuchel (2011), 21×10 cm, 16 pages, digital print, staple binding, texts in English and German);

—„Delphi ’98 survey. Study on the global development of science and technology, 2015 (emanating from excerpts of the eponymous report by Cuhls et al. (1998), 21×10 cm, 32 pages, digital print, staple binding, texts in English and German).

Standort Delphi, Jahresausstellung der Kommunalen Galerie des Bezirks Marzahn, Berlin 2015.


Keramik, Kunststoff, Holz, Glas, Erde, Prospektständer (Metall, Holz, Acrylglass) sowie zwei Broschüren:

—„The Ancient Omphalos at Delphi: Geometrically a Space-inverting Anamorphoscope (Der antike Omphalos in Delphi: Geometrisch betrachtet ein Raum-invertierendes Anamorphoskop)“, 2015 (ausgehend von dem gleichnamigen Paper von P. W. Kuchel (2011), 21×10 cm, 16 Seiten, Digitaldruck, Klammerhaftung, Texte auf Englisch und Deutsch);

—„Delphi ’98 Umfrage. Studie zur globalen Entwicklung von Wissenschaft und Technik“, 2015 (ausgehend von dem gleichnamigen Report von Cuhls et al. (1998), 21×10 cm, 32 Seiten, Digitaldruck, Klammerhaftung, Texte auf Englisch und Deutsch).

We speculate that select members of the ancient religious sect at the Temple of Apollo at Delphi realized the symbolism of inverting all of space outside the Omphalos into the image field inside its base, thus making it the virtual centre of the World (Kuchel 2011).



The German Delphi process is organized with a steering group and expert panels for the creation of visionary topics (Cuhls et al. 1998).

Cover page: John Collier: Priestess of Delphi, 1891 (excerpt).

[…] the true significance of the shape of the ancient Omphalos [at Delphi] was already lost by the time of the Roman invasion; or the seers wished to keep the significance of the shape a secret, and then without a written record it subsequently became lost to history (Kuchel 2011).