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Cloud dating in the age of (un)controlled precipitation

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Thomas Geiger. “I carry a hand full of sand with me until the sand has disappeared completely.” 2016
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Kah Bee Chow 圈. Tube, water, air, water pump, plastic container, laser cut acrylic stands, engraved acrylic coins. 2016
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Angelo Plessas, promo for “The Eternal Internet Brother/Sisterhood 5”, 2016
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Dear involved parts and others,

 

This is an open letter regarding the case of the Karl Marx head sculpture from Chemnitz by Lev Yefimovitch Kerbel, which is also known for being a subject of Deimantas Narkevičius’ work “The Head.” In 2007 Deimantas Narkevičius intented to transport the monumental bust weighting forty tons from Chemnitz to Munster Sculpture Project for the duration of three months. However, after long negotiations between artist, curators and city municipality the proposal was rejected and the project resulted in a film made using archival material reflecting the shift of society. I will not elaborate much on the importance of of this film for the development of contemporary art scene of Lithuania and the beyond. It is a fact that the film became a bridge and inspiration for whole range artist trying to resolve the identity crisis of post-soviet nation. <…>. At this point I would like to come back to the current days and last summer when we were sitting at the cafeteria in Vilnius discussing development of augmented reality technologies, that me and fellow colleagues under “Doghme” junction were working with. Later on you suggested creating a virtual replica of the sculpture and completing the gesture started by Deimantas Narkevičius in 2006 by placing it in Munster though the means of augmented reality. Although there are all the necessary ingredients for different sorts of complications to happen, yet I accepted to authorise and take artistic responsibility over this action. In this latter I want to clarify motives, raise possible questions and open a discussion over this matter.  Leaving the appropriatory aspects or questions of artistic legacies aside, I would consider it a privilege to take part  in  the dialog between different epochs and perspectives towards art and sculpture in more narrow sense. Yet I find it important to emphasise that I assume our gesture not so much as a tribute to the peers, but rather as an sovereign, utilitarian project – the third leap, the generational step that brings its own ruptures to the development of artistic language. Further consequences, technical and aesthetic aspects of the project (I would call it “The Head Spinning”) (if it is meant to happen) has to be discussed separately in succeeding exchange.

 

Sincerely,

Robertas Narkus

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Robertas Narkus
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Pakui Hardware "Soft Encounters"
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Alberto Garcia Del Castillo