Large-scale architectural installations in buildings slated for demolition are the center of Marjan Teeuwen’s series Destroyed House. In these installations, the force of building and the forces of destruction and decline go hand in hand. Diametric opposites like construction–destruction, falling–standing, and order–chaos are the essence of the human condition. A diabolic conflict. Dostoyevski asserts that reckoning these opposites is beyond human powers. It can be looked at from an art-historical perspective, but there are also religious, social and philosophical connotations. The great variety of waste material from destroyed houses, in Teeuwen’s installations, produces a textural wealth strongly suggesting seventeenth-century Dutch painting. Everything is broken and has been archived. Destroyed House, a collaborative project with Bruce Silverstein Gallery, is an important part of the 50th edition. Teeuwen’s twenty-third installation is in a derelict building on festival grounds. A number of her photos will be exhibited with the installation.