To drive a train over Marcel Duchamp's bicycle wheel; yellow wooden elephants seem to plow through a sandpile plastered in black; things have been torn with names of legendary pioneers from the history of aviation. There is another train: aimless, forever circulating on a circular track, suspended from six upward angles that turn over as the weight of the long-distance train tests their flexibility.

In the constructed world of visual artist Peter Vermeulen, movement and sound play a key role. That makes his work perfect for the twentieth century, because in the past nothing moved in art. The things stood firmly and relentlessly to refer to a world that was elsewhere.