— Can symmetry and mirroring be used to highlight the relevance of questions intrinsic to contemporary art, such as autonomy, authenticity and engagement with questions regarding the real and the artificial?As tempting as it is to research symmetry reflecting the research itself, with the risk of ending up in an echo chamber, this project is not only about symmetry in and of itself, but about its different meanings and manifestations in the “real world” and its possible relevance to an artistic practice.
First shown at Playground Festival, Leuven 2009
special thanks to Joana Meroz
Works/copies in this installation:
Rutger (1989), Philippa (1998), Berlin Chair Loveseat/ Model (2001/2009), East/ West (2009)
The first exhibit was at STUK/ Playground 2009, in which several earlier works were shown, to explore their (a-)symmetrical dimensions. The physical aspect of the work was the most prominent, and it raised questions as to whether the autonomy of the pieces was subjugated to such an extent as to rob them of their autonomy and transform them simply into ‘props’ at the service of a greater art piece. The second phase will explore the temporal and physical dimensions of symmetry. In November 2010 a lecture will be given in the auditorium of the university in which, although the driving force behind the research and final output is symmetry, it will be developed and communicated in a more covert way; the aim is that the audience experiences (a-)symmetry rather than is being lectured on it. This point will explore the authenticity and originality of an art piece since it happens singularly in time and space.
At the Stedelijk Museum Amsterdam, a visitor accidentally wrecked the blue foam Berlin Chair Loveseat model, by sitting on it. The shocked curator almost cried, but I considered leaving the installation as I found it. It was not the same anymore, but chance can be embraced, and I liked the fact that the work was unintentionally altered. The red & white clearance tape would stay, and I'd have the visual footage of the museum's surveillance system, which I had recorded from the monitor in the control room, play in loop.
I couldn't as they forced me to remove it from my camera, which I still regret to this day.
