For Greenland Street, Macuga worked in collaboration with If-Untitled Architects to create an all encompassing environment based on set designs from the film The Cabinet of Dr Caligari.


Directed in 1919 by Robert Wiene, the film is well know for the brilliance of its set design and set designer Hermann Warm enlisted Walter Reimann and Walter Roehrig, fellow members of Berlin's Der Sturm group, to act as art directors. They created the unprecedented look of the sets, costumes and makeup to reflect the mind of a madman and succeeded in embodying the aesthetic of the Expressionist movement.


Taking inspiration from the films set, Macuga's installation utilised the dynamic architecture of the Furnace in order to create elevated walkways, a complex of corridors filled with display cabinets, rotating platforms, hidden rooms and anti-chambers, all of which combined to create an abstracted and distorted landscape.


Within this complex and intriguing structure, she curated a series of theatrical tableaux, performances and exhibitions of artworks, objects and curiosities many of which were borrowed from local, regional and national museums. Audiences were invited to navigate on, in and around the installation.

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For Greenland Street, Macuga worked in collaboration with If-Untitled Architects to create an all encompassing environment based on set designs from the film The Cabinet of Dr Caligari.


Directed in 1919 by Robert Wiene, the film is well know for the brilliance of its set design and set designer Hermann Warm enlisted Walter Reimann and Walter Roehrig, fellow members of Berlin's Der Sturm group, to act as art directors. They created the unprecedented look of the sets, costumes and makeup to reflect the mind of a madman and succeeded in embodying the aesthetic of the Expressionist movement.


Taking inspiration from the films set, Macuga's installation utilised the dynamic architecture of the Furnace in order to create elevated walkways, a complex of corridors filled with display cabinets, rotating platforms, hidden rooms and anti-chambers, all of which combined to create an abstracted and distorted landscape.


Within this complex and intriguing structure, she curated a series of theatrical tableaux, performances and exhibitions of artworks, objects and curiosities many of which were borrowed from local, regional and national museums. Audiences were invited to navigate on, in and around the installation.