In Askund, a caravan led by Beatrice moves through a desolate, dreamlike landscape—a “nowhere” that feels strangely familiar. The word Askund means “Nowhere,” but here it stands for a symbolic space where personal and cultural identities are questioned. It is a space where tradition, inner conflict, and desire meet.

The caravan is dressed in fustanella, traditional men's attire, and rides horses across an empty, surreal landscape. Their journey doesn’t aim at a destination but moves through a suspended state—caught between past and present, between what is noble and what is absurd. Beatrice, the only woman in the group, leads them with calm determination, acting as a guide through this internal and symbolic terrain.

In the city, the same people, still in traditional clothing, run across roads and dance under overpasses, lost in the fast rhythm of modern life. The rhythm is fast, the surroundings indifferent. Horses are replaced by machines. Traditional costumes appear in settings where they don’t belong. Identity feels unmoored—caught between ritual and repetition, between memory and motion. This stark contrast exposes a profound displacement, just like the stars hanging nowhere—an identity caught between the echoes of heritage and contemporary life.