The project is based on the principle of exposure/emergence/salvage and renewed synchronization of impacted life material frozen in time and its reactivation by means of the art viewer's eye, functioning as an active and necessary witness of an evolutionary movement related to the renewed emotional acknowledgment of the reawakened old life material. The viewing experience takes place via the physical consciousness at the actual exhibition scene. Thus, the Liquid Desert site offers a new and different mode of contemporary and advanced thinking in the form of a lively conversation with our world of shadows as a society and culture.

This parallel shadow world is represented virtually and functions as a metaphysical zone in the underground site located in Abraham's Path in the northern Negev Desert, which is a place of deep significance to the artist's nuclear family. According to tradition, this is the site of a historic dialogue between the human dimension in the form of Abraham and divine presence – as demonstrated by the change in Abraham's name – from Avram to Avraham, introducing the Hebrew letter ה (H) which symbolizes in the simplest and deepest sense the acknowledgment of God's presence in the manifest physical world. In this respect, the Liquid Desert Project deals with the movement of structures and the lively dialogue between the overt dimension of our life and the hidden one – the one which contains important information essential for the actual movement. The virtual rooms of the desert site host the reflections of actual/physical art works from the fields of drawing, sculpture, sound and video – which are simultaneously exhibited in an encoded and partial manner in the visible public sphere, such as in international leading contemporary art museums. This creates a unique correspondence between a physical and visible field and its hidden underground and metaphysical counterpart. The actual works of art maintain an active conversation/resonance with the metaphysical site throughout the exhibition.

The project is a distilled and profound new step for the artist, who has been mapping the subconscious space – personal and collective – for years, using drawing, sculpture and sound, which act as fragments of a muted and necessary witnessing in that space.

Over the course of his long career as a curator and museum director, Kittelmann has investigated curatorial practices and support to expand the relationships with the art in the institutions. He focuses on the processes of art, and therefore its implicit laws and potential display configurations. He has based his curatorial approach on close collaboration with artists, setting up their works, moving beyond the aesthetic dimension, and focusing on the artwork’s specific socio-political context.

In 2017 he curated the exhibition “The Boat is Leaking. The Captain Lied.”, result of a dialogue with the artist Thomas Demand, filmmaker Alexander Kluge and theatre designer Anna Viebrock, on view at Fondazione Prada in Venice. He curated Liu Ye’s solo show “Storytelling” on view at Prada Rong Zhai in Shanghai and at Fondazione Prada in Milan in 2018 and 2020, respectively. In 2020 he also conceived the exhibition project “K”, featuring works by Martin Kippenberger, Orson Welles and Tangerine Dream inspired by three novels by Franz Kafka, for the Milan venue of Fondazione Prada. His recent project “Human Brains. It Begins with an Idea” about the investigative process of neuroscience is a collaboration with the artist Taryn Simon and was presented at the Foundazione Prada in Venice coinciding with Venice Biennale (2022). His projects further include Anne Imhof’s opera “Angst II”, as well as the Adrian Piper’s project “The Probable Trust Registry.” among others. For the Museum Frieder Burda in Baden-Baden, he conceived the exhibition Margaret and Christine Wertheim´s “Value and Transformation of Corals” and for Centro Botín in Santander, Spain he will confront Tino Sehgal´s work with El Greco.