The Panorama , a ritual that has turned into somewhat of an obsession over the years, serves the artist to question analogies of film and photography, of picture space and image area as well as the phenomenology of an object or place. Dabernig chooses sports grounds as objects to investigate. Like almost no other cultural structure, these venues are similar in form and size all over the world, synonymous with leisure time. However, sport fields are also charged locations of congregation, of victory and defeat and sometimes even of demagogy. The size of the collection with panoramas taken from countries like Brazil, Ukrain, Egypt or Italy recalls a work of reference that helps us to read time and space in a linear way.
