Wunderkammer is an ongoing research project


The earliest historical record of the Wunderkammer is assigned to the German Anastasius Kircher, a giant among seventeenth-century scholars, and one of the last thinkers „who could rightfully claim all knowledge as his domain“. His compulsive interest in collecting expressed itself as a drive to collate and understand significant objects: the fossils, minerals, specimens, tools and artisanal products that provided evidence for our knowledge of and theories about the world. The effort to organize and explain the world’s copious and strange complexity is the common desire underlying the Wunderkammer – but equally evident is the desire to luxuriate in what cannot be understood. Even if we have, today, split apart that which is ‘scientific’ from the ‘artistic’, the Wunderkammer reminds us that the two are both essentially forms of taking pleasure in the task of understanding the world, provoked by a stimulating object or idea.



Anne Duk Hee Jordan has been creating her own Wunderkammer for many years now. It is an ongoing process in which she prepares all the specimens herself. Just as in a cabinet of wonders, all of her works are interconnected to one another by developing a continual narrative between science, art and philosophy.