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A rectangular structure is laid out on the floor of the Kunsthalle Arbon. Its shape is reminiscent of an archaeological excavation site, a labyrinth or the floor plan of a house. The title of the exhibition adds further associations: a dormitório is a bedroom or a dormitory. In ancient times, cemeteries were also referred to as such: the ancient Greek word “koimeterion”, from which the word cemetery is derived in many languages, basically simply means a place to sleep. The cemetery, the sleeping place, the house, the ruin: for Paulo Wirz (*1990 in Pindamonhangaba), the connection between these different places is of personal significance. In Brazil, he grew up in a house next to a cemetery and a wasteland. Emptiness, death, but also Afro-Brazilian religions shaped his interest in how people develop rituals and customs to deal with the big issues of life. What myths and narratives do we develop to deal with the unanswered questions of life, to find meaning and co…
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A rectangular structure is laid out on the floor of the Kunsthalle Arbon. Its shape is reminiscent of an archaeological excavation site, a labyrinth or the floor plan of a house. The title of the exhibition adds further associations: a dormitório is a bedroom or a dormitory. In ancient times, cemeteries were also referred to as such: the ancient Greek word “koimeterion”, from which the word cemetery is derived in many languages, basically simply means a place to sleep. The cemetery, the sleeping place, the house, the ruin: for Paulo Wirz (*1990 in Pindamonhangaba), the connection between these different places is of personal significance. In Brazil, he grew up in a house next to a cemetery and a wasteland. Emptiness, death, but also Afro-Brazilian religions shaped his interest in how people develop rituals and customs to deal with the big issues of life. What myths and narratives do we develop to deal with the unanswered questions of life, to find meaning and co…
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