Brazilian based artist Nicolás Robbio spent one month as artist in residence at Krinzinger Projekte, Vienna. The intellectual source of the works developed within his residency is Robbio's engagement with crystalline forms as original basic structures of all natural material. In relation to Robert Smithson's 1966 published text 'Entropy and the New Monuments' the artist incorporates mathematic paradigms and geometric structures into his works. Fascinated by the fact that total different phenomenons, as for instance the physical wave length of human laughter and the basic structures of crystals, can be reduced to one common denominator by artistic practices, Nicolás Robbio develops poetic and reduced pieces that enable the viewer to approach first on a pure aesthetic level.

Only after a profound engagement the complex patterns of thoughts become visible and reveal each work as small part of the ripening of a mental superstructure and thus refer to the long tradition of conceptual art. A significant role for Robbio´s working process thus play semiotic thoughts: the fact that humans belonging to one cultural circle have learned to read signs in a specific way, that also the categorization of images has become an anthropological constant, the artist causes to withdraw these symbols, to modify or to displace them in order to expand the subjective perception of the recipient. The series of ink-drawings with the character 'N' as a geographic orientation point lead the precision of a cartography ad absurdum as on each single sheet of paperwork they point into another direction. In intense examination with natural scientific, religious and philosophic concepts, Robbio developed the idea of a permanent changing human perception, which can –depending on the taken perspective – have correspondent effects onto the considered object. In this, every way leads from the small to the big and vice versa, from the inside to the outside and contravise. According to Robbio his work is determined by coincidence and the permanent interplay between 'trial' and 'error'. Peter Sloterdijks term 'Anthropotechnik' which understands the human being as in permanen texercise, Robbio claims to be the central motif of his works. For the artist it is the sum of the imperfect movements which render the approach to perfection possible.