Transformations, translations and shifts are considered to be central practices in the society’s gearing. The appropriation of finds and legacies can only be surpassed by their invention / construction. It is important to deal with the fathers and the mothers. Clinch was the name of the place in the installation (positions were named, not works), where it has been suggested that inheritances are often misunderstood as missions. The Pietá (after Kokoschka *, not Picasso) was used as kariatyde to support the builtin roof funnel. The stifled murmur of the library visitors on the top floor was supposedly collected in the ear of the supporting figure, down in the atrium. The abdomen of the figure replaces a small carousel.
The installation is the built representation of some considerations on the conditions of a production of art / life form today. The installation is located in the basement (atrium) of a library. The work was produced during a longer stay on site. The space was separated from the view of the library visitors by a makeshift ceiling. The tension between intimacy and generalization was sought. Ultimately, the stubborn insistence of a recognizable “style” was emphasized, which could only hint at disturbances caused by local peculiarities (international).
The exhibition took place in the Basque Country. The conflicting moment between the cultural techniques, ways of life and languages is manifest and actual. A longer onsite presence during which the installation was produced should create a sense of local “style.” In the Basque Country, male sheep are encouraged to stamp their skulls. If one lets them pause for a while and then refrains from fitting them with horns, since they are scarce, there is nothing left of the original harshness of the momentous event. Rather, it seems to be a graceful dance movement, in which the partners, held by gentle pressure skillfully in the balance. Whether a new show is served by this other kind of grace and power, that will be clarified. The horizontal hardness was replaced by a vertical lightness. Sculpture takes place at the relocations of the ACHSEN! This can lead to the formation of signs of renewed life.
Itsaso another name for the sea. Here are three examples of the attempted naming of the positions / positions that were to be filled according to their naming with nameless works: 1 clinch: is finally the place to remember the beginning. 4 may be an initial after the 0 has been ignored (such as 10 = 4). the true beginning took place when the inheritance was misunderstood as a mission, and the individual manifestations were misunderstood as expressing themselves and not merely filling a given place.
2 lapse: the place of nostalgic yearning for an imaginary unity and permanence of a singular position that would permanently remind you even being the inventor and domesticator of the wilderness that surrounded you. where the overcoming was as much as the promotion of all the forces of attraction in your hands and the revival of things actually took place. where the brutality of the coherence has been tempered and your restless wandering about was called “open to encounters”. work meant there free activity. from there you would be able to imagine no.3, but you would also be pushed back in the direction of no.1, with a brief interruption: 0 style ?: the place of power of generalization, once the place of decision. 3 delicate (living): the place even of another arrangements of the rules of the built world.