The choice of Turin has to do with the basic assumption of the whole project—the fact that there are no more monuments. I’m the same kind of sculptor that has been raised for centuries, but I’m the first generation that cannot build any more monuments for public figures or historical figures or political dramas or wars. I’m the first generation that isn’t being commissioned to make monuments, so out of an idea of nostalgia, I am in a city where I can imagine monuments.
The Ten Murders of Josephine (2017) is the most recent longitudinal project initiated by Rana Hamadeh. The operatic project is structured through several evolving iterations, which over-write and trouble one another, proposing a particular dramaturgy of labor and research processes that commence with the present exhibition at Witte de With. Preceded by a bi-weekly study group inviting an assembly of readers from different fields, the exhibition will be followed by a theatrical production, a publication, and a film. After six years of Alien Encounters (Hamadeh’s previous long-term project), evolving around the genre of legal spectacle, and Hamadeh’s earlier claims regarding “justice as the measure to which one can access theater;” The Ten Murders of Josephine explores the constitutive conditions of testimony vis-à-vis the notion of “testimonial subjecthood.”
Charlie Fox, author of This Young Monster talks to artist Marianna Simnett about her latest project Worst Gift currently showing at Matt’s Gallery, London.
As Simone Fattal writes, Etel Adnan “is in love with the beauty of the world.” And this love, visualized through painting—that Adnan herself defines as an expression of her joyful side—is contagious. Seeing the landscape—a flood of colors—through her eyes is an experience that can change our perception of reality. At the same time, reading her writings (where she challenges the humane efforts of the world) reminds us that we can’t be mere contemplators; to understand the world around us, we need to investigate different levels. Even if at the beginning it seems hard to attribute to the same author the paintings and the texts, there are fugacious moments that reveal the same sensitivity behind the two languages. They express both sides of the same enlightened gaze, and putting them together returns to us the stratified complexity of reality.
What is the relation between sound and image? Gabriele Sassone talks to Anri Sala about his new project at kurimanzutto, entitled All of a Tremble. The conversation evolves into exploring the role of synesthesia within contemporary language, along with the possibilities offered by interdiction.