Hundeportrait Und Doppelkopffrau
Paloma Varga Weisz
I like to go into churches when I go in other countries. I think it’s for me, like a — calming down in a city, is going into — checking out some museums, going into a church is kind of like a fixing point for me. Maybe I’m simple-minded as a tourist, but I have something on my list. But going in a church is also kind of like going in an exhibition show and seeing how they work with space, how they’ve put the figures, how the benches are made, how is the choir organized. And of course, there is a certain period, especially in the German South, there is a city called Ulm, and there is the Ulmer Münster, and there is this choir, where you can sit behind the altar on these benches, where all these people are carved.1 It’s 1400 something, where you see these heads very close to you, from people who donate money to the city, to the church, other religious people.
So, you can sit there, and you are surrounded by these heads and when I saw this, I got this idea to build up a bench where you can sit — the viewer on this bench being surrounded by these characters, and seeing — the viewer sitting on the bench is being surrounded by this sculpture. It’s also an interesting view for the other viewer, or lying on the bench. And in the show that you might know, where I work with these benches, the form of the benches is very related to the architecture where this show has been shown first time. And it was a very brutalistic building from the ’60s, where you can see these benches outside, on the piazza in front of this museum, it’s called Kunsthalle, in Dusseldorf. And I copied this from these benches, and transformed them into this exhibition space and put then these characters on the benches.