The joint exhibition of the MYTH Gallery and the educational project masters at the masters:dom space stems from the premise that a myth does not exist in a definitive, final version. In the humanities, myth is approached not as a fixed narrative but as a process—a system of repetitions, shifts, and reassemblies dependent on the context of its reproduction. In this sense, a myth is not simply "told"; it is created anew each time.
It is precisely within this understanding that MYTH engages with its artists: the gallery presents a multitude of individual myths that have evolved throughout the creative journeys of its practitioners. Each artist develops a personal system of imagery, logic, and internal language, and the exhibition offers a chance to selectively engage with this diversity. The works by thirteen gallery artists—created specifically for MYTH.Unlimited or previously shown only sporadically—exist within several overlapping mythic fields: the artistic methodologies of individual practices and the institutional concept that MYTH constructs around itself through art.
The works featured in the exhibition, much like the artists in the gallery's pool, do not form a hierarchy or a closed typology. Instead, they outline a series of distinct, recurring directions. Some works explore themes of death, lived experience, and processuality, with a focus on the extreme states of body and matter. Others involve the reprocessing of cultural codes and collective memory, where the contours of familiar forms become material for reassembly. Certain practices engage with post-internet aesthetics and the transformation of perception within a media-saturated reality. These trajectories layer upon one another, forming a dynamic field of intersections where the principles of MYTH and the logic of MYTH.Unlimited take shape.
Here, "Unlimited" signifies a rejection of finalized interpretation. It refers less to physical scale or volume and more to a principle of exhibition-making where no single element dictates a sole mode of reading. No myth has a final version—hence the deliberate curatorial decision not to reduce the exhibition to a single thesis, theme, or aesthetic line.
MYTH.Unlimited does not aim to create a unified, sequential statement nor does it offer the viewer a coherent interpretive framework. The exhibition exists as a field of versions: each work proposes its own mode of myth-making without claiming universality. The coexistence of these different, autonomous artistic versions takes precedence over their harmonization.
This refusal of a singular aesthetic and a conclusive statement reflects the very subject of inquiry: myth (like MYTH itself) is always plural, contextual, and fundamentally unfinished. And "Unlimited" becomes an acknowledgment of the impossibility of synthesizing this multiplicity into one final, exhaustive version.
