Allowing the duo to occupy and move through spaces unhindered articulates a radical architectural imaginary where metropolitan malaise, neoclassical monumentality, and underground romanticism fuse in new and unexpected ways under the auspices of global pop culture.
For those who grew up in societies dominated by one of the major monotheistic religions, Eden is the iconic primeval “garden.” Derived from Sumerian mythology—where its most recognizable traits are similarly encoded—it is a botanical-architectonic allegory for a legendary golden age in the guise of a physical place endowed with agreeable flora, perfect climate, and beautiful overall appearance, circumscribed and protected by an exterior not known directly by its inhabitants.
A broken chorus of frenetic voices echoes around the pitched walls of Studio Voltaire. Tiny television sets perch precariously atop anthropomorphic piles of household junk. Broadcast from each screen are graphically rendered female faces, their eyes masked by animated ones made out of clay.
Ettore Spalletti’s work is often discussed in terms of spirituality thanks to his capacity to translate material into spatial and emotional experience. Here, the author discusses Spalletti as a painter who uses space as his medium.
But Szeemann still stands almost alone as a model of contemporary art curating. With that in mind, Grandfather’s restaging connects—maybe unintentionally—contemporary art curating to notions of fine art that presumably are long gone.