Vacation. We move from one screen to another.

Life in a state of collective anesthesia – numb to discomfort and empathy – is easy, as long as the oasis is well-stocked with content. Yet it is not entirely immune to the echo of global horrors. It remains apathetic until poured near the wound.

This work critiques the absence of empathy and the reluctance to engage in necessary conversations, in an era of absence available at the palm of your hand. Beautiful images remain beautiful – even when they speak of pain. Or do they?

The video installation unfolds across two synchronized screens. The hyperoasis – a space safe from the influx of unpleasantly repetitive thoughts – functions as a mobile archive of the landscape. The scenes we observe shift, resembling static and idyllic environments that soothe us. But sound alters the image.

Using the Serbian-language archive analysis program Jerteh, a text was generated based on depictions of violence in 19th- and 20th-century Serbian literature. These landscapes now acquire new meanings, challenging our immediacy in moments of emotional intensity. Do we return to empathy for these narratives, despite our – perhaps privileged – position?

On the lower screen, the computer compiles an analysis of the text, ranking sentences by complexity. The meaning of words becomes an overlooked category – a commentary on the growing alienation embedded in technologies designed to better understand the human condition.

The dual-screen format evokes scattered attention and the fragmented nature of multi-screen experiences.