Page "20"
Commissioned for Akademie der Künste der Welt
Curated by Madhusree Dutta and Ala Younis
Curated by Madhusree Dutta and Ala Younis
Where do the walls of the museum go when they are forgotten? And 2021
95 x 195 x 103 cm
Used jacket, glove, oil paint, torn painting on canvas, broken picture frame, clay sculptures, glaze, fabric and bedstead.
Caterpillar sculptures wrapped in small pieces of a painting. Number – 26.
Used jacket, glove, oil paint, torn painting on canvas, broken picture frame, clay sculptures, glaze, fabric and bedstead.
Caterpillar sculptures wrapped in small pieces of a painting. Number – 26.
Accompanied by threads pricked by artist Diana Cantarey.
Translation: Samar Al Summary.
Production: Akademie der Künste der Welt.
Photography: by: Katja Illner & Mareike Tocha.
The air a person inhales at the farm is resplendent, imbued as it is with the spirit of work that you can't feel elsewhere, and of course this opportunity was thanks to them. After failing to rebuild the rooms, living quarters, and kitchens of the farm, due to the flowers' scent which kidnapped and conquered the minds of the architects and the draftsmen, it was time to reassess so that the working assessments fell in line with the culture and mentality of the strange flowers. The curator/curaturess/director/directoress of the museum, Sofa previously, decided to build the museum on the grounds of the farm, with the help of an enormous grant, to compensate for what the beautiful hideous and poisonous flowers perpetrated to the place and the workers previously. they exhibited original paintings that had been lost during the war. I don't know how they reached them?
Basically, you come to see the beautiful design of the museum. The paintings are an afterthought. But the farm’s sloped earth posed a problem for the building of the museum. In addition to that, small butterflies were born which fed on the wood of the stolen canvases, taking on the details of the paintings as homes. This led to the cancelling of the exhibition and the use of the walls to hang the paintings. When they went bare, the walls were exposed to the predation of unknown vandals. The exhibition hall was moved piecemeal to become a part of reception halls for guests, kitchens, and sleeping quarters throughout the village.
The obsession of the director/directoress for plants and insects compelled her to cut pieces of the paintings so as not to wake the sleeping caterpillars from their sleep or annoy them, and this ongoing love and failure is embraced by her/his jacket and sleeves, as a horse feeling his end draws near does what he can to preserve his guts, so some horses flatten their stomachs on the ground, while others turn onto their backs, but their teeming insides are not spared, but spilled. This work is intended to create perceptual and spatial effects that may lead to new imaginations.
Multiples
Dimensions ca. 15 x 10 x 2 cm
Edition: 25 similar but unique objects.
Material: Clay, oil paint, glaze, canvas.
Photo: IN MY HANDS
Colorful clay sculpture of a caterpillar wrapped in a torn piece of a painting of dead horse. The figure of the dead horse is a poetic gesture, symbolizing the failure and death of the idea of a museum to be founded on a farm. The caterpillar and torn piece of the painting are extracted from the jacket / museum. 25 pieces.
Click here to see the multiples
Théodore Gericault, French 1791-1824, Dead Horse, one of the resources inspiring my project.
Price per multiple 70,— EUR plus VAT and shipping costs.
To place an order, please send the filled-in form to hands@adkdw.org.