Akademie der Bildenden Künste Wien
To a certain degree sacredness is in the eye of the beholder - Act IV
1. ‘To a certain degree’ is an on-going work that has been conceived as open script. Its point of departure are two journeys: that of Le Corbusier to Athens for the 1933 CIAM congress and the filmic journey of Medea, directed by Pier Paolo Pasolini in 1969. 2. These journeys are synthesised as palindromic movements, from the West to the East and vice versa. In their intersection, a site is formulated where European imaginaries and their relation to a mythicised past are re-examined. 3. Using the script as a building material, the artist has produced sculptural environments that trace back upon these narratives. These elements, accompanied by excerpts of historical material and sound performances, are re-articulated in subsequent versions or acts. 4. Act IV is condensed into four conceptual elements -Modulor, Centaur, Material M and Cast- whose presence transforms space into a static mise en scène. 5. Modulor and Centaur -appearing in Le Corbusier’s and Pasolini’s oeuvre respectively- refer back to the embodiment of two different modes of perception: the rational and the mystical. Modulor’s anthropocentric idealism is ‘deformed’ by its adaptation to the artist’s body proportions. Centaur, a mythical construction, is conceived in relation to the measurements of the Golden Section. 6. Material M and Cast appear as objects whose unfolding in space is grounded on the notion of a repetitive act. The pattern of the Material M is created through the reproduction of the typeface from the 1969 Medea film poster. Cast revisits the notion of the vessel as a container, a transporter of substance as well as concepts. 7. The objects - actualised as an interplay between line, volume and surface - produce through their materiality and staging a series of spatial and contextual occupations. Fleeing from a single coherent perspective, they serve an intrinsic role as latent presences; silent guides suggesting an underlying cultural ambivalence.