When I was writing my master thesis in 2015, theorizing otherness and the importance of it in the self-defining process as reflected on a micro and macro level of interconnectedness, I would have never imagined that I would have the chance to attend an art exhibition so close to my objective of cultural analysis. Anneli Holmstrom‘s artwork was all about the balance of interchangeable opposites; presence, absence and their oneness. The first thing that caught my attention about this exhibition was its title; so polarized yet so symmetrical in its completeness. The 4 rooms of Summerhall‘s Meadows Gallery hosted a presence installation, a presence video, an absence video and an absence installation. The {{{+}}} installation was very geometric and colourful whereas the -}}}}}} installation was heavy and bleak. The {{{+}}} film, Levitation, felt more aerial while the -}}}}}} film, Flood, more melancholic but both of them were very powerful in the sense of intimacy they created, along with a sense of estrangement amplified by the use of foreign languages in the narration. I couldn’t help but noticing the water element being dominant in all 4 rooms looking as it was functioning as the union force of the opposites. The artist also hosted an event, in which 6 people from different intellectual backgrounds presented their perception of presence and absence. Poetry, film-making, psychology, spirituality and astrophysics, in all their different principles, they underlined the interrelation between presence and absence and the significance of it when it comes to expanding our understanding about both the world around us and the world within us. Anneli Holmstrom’s interdisciplinary work reverberated harmony, wholeness and consolation; an art-bridge between consolidated binaries that dissolved in a multi-sensory aesthetic experience.