In his Biennale work, Schinwald confidently combines architectural elements with pictorial, sculptural, and filmic or performative ones. He subtly explores the dispositifs of control, discipline, and self-correction. These are inscribed in the human body, shaping and permeating it; they reemerge on the body surface, in visible and tangible form, as psychologically charged inner worlds. For his new two-part film, entitled Orient, Schinwald recreates the Austrian Pavilion entrance in model form, and the situation he has contrived offers him a means to coerce the body. The vertical abysses on display thus become a showplace for inadequacy and compulsiveness.