Artissima - miscellaneous?
While i ponder on my inability to be the queen of sexy titles, i'm going to give you a last breath of Artissima:
The first time i saw Jan Håfström's work was at the Venice Biennial. I remembered thinking that i wouldn't mind seeing it over and over again. The Brändström gallery in Stockholm has no idea how happy when they decided to fill their booth with Paradise Lost, Walker, Incidents of Grandma's Travel and The Eternal Return to Artissima. The cut-out wood panels create an instant dark cult atmosphere evoking Gustave Moreau, Edgar Allan Poe, secret burial ceremonies and Boris Karloff's hypnotic eyes in The Mummy.
Now the question i like to ask myself when i'm in an artfair is "if money was no object which work would i want to bag for my penthouse?" At Artissima, i'd have bought a Damien Deroubaix.
In 2007, Daniel Knorr decorated four trams in Bucharest with the symbols of key institutions: The Army, The Orthodox Church, The Red Cross and the Police. This intervention materializes the Kafkian relationship between institutions and citizens who live physically such relationship in regard to the tram (either if they are inside or outside it, either if it is empty or crowded), always repeating the same run (via.)
Gianni Pettena was one of the leading figures of "radical architecture" in Italy. The little i've seen of his work makes me think that he was a brilliant man, to say the least. Carabinieri were giant word-objects built out of corrugated cardboard erected in a courtyard and abandoned to the wear and tear of time and weather. 'Carabinieri' (the national gendarmerie of Italy) is an old word and it evokes authority. Rain and humidity have quickly and quietly reduced it to pieces.
Zebiba, by Hrair Sarkissian, is a series of portraits of pious men in Egypt who all have the 'Zebiba' or prayer scar on their foreheads, caused by kneeling on a prayer rug or a Mussallah (Stone of God) and touching the ground with one's forehead. On one level, the worshipper aspires to disinvest himself from earthly culture. Paradoxically, the desire to become invisible when facing God, renders him more visible within his social environment.
In 1993, while his country was facing a national identity debate, and a negative image abroad, Perjovschi participated to a Performance Festival in Timişoara with an "anti-performance" for which he had the name of his country tattooed on his shoulder.
Ten years later, he removed the tattoo in a surgical procedure that involved a laser bombardment of the tattoo, each black dot splitting into millions of pieces and each of the pieces carried away through his skin by molecules. The tattoo was not erased but instead spread throughout the whole body of the artist.
And that's it for the 17th edition of Artissima!