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Eight wooden crates, open at the top, stand on pallets, each illuminated by an infrared lamp. One of the crates, burned and preserved with wax and cloves—almost embalmed—breaks the order. It lingers between destruction and healing. The work includes a catalog that serves as both a construction and operating manual. Eight copies hang on the wall, one for each crate. The language of technical precision (“Caution! Cut edges can be dangerous.”) tips into the poetic as soon as it is read in the context of art. The viewer is invited to become an accomplice, to understand the construction plan as a gesture—as an invitation to participate in a philosophy that makes the process of creation itself the subject.
The atmosphere of the installation extends beyond its industrial character. A small crucifix with etched photographs of children, mounted high on the front wing of the exhibition, amplifies the ambivalence. The photographs show children: who t…
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Press Release
Eight wooden crates, open at the top, stand on pallets, each illuminated by an infrared lamp. One of the crates, burned and preserved with wax and cloves—almost embalmed—breaks the order. It lingers between destruction and healing. The work includes a catalog that serves as both a construction and operating manual. Eight copies hang on the wall, one for each crate. The language of technical precision (“Caution! Cut edges can be dangerous.”) tips into the poetic as soon as it is read in the context of art. The viewer is invited to become an accomplice, to understand the construction plan as a gesture—as an invitation to participate in a philosophy that makes the process of creation itself the subject.
The atmosphere of the installation extends beyond its industrial character. A small crucifix with etched photographs of children, mounted high on the front wing of the exhibition, amplifies the ambivalence. The photographs show children: who t…
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