Momo Weiss /// Great Bathers
In the organizer's words:
The Wewerka Pavilion is exceptional as an exhibition venue - it repeatedly induces site-specific artistic explorations and virtually demands engagement with the architecture of the Wewerka Pavilion. The exhibition Great Bathers attempts to break away from this specificity by understanding its architecture neither as the sole trigger nor as a mere backdrop for artistic work, but as a living space. Architecture differs from its sister arts in its functionality. Questions of design always compromise with the requirements of architecture, e.g. the requirements of a tourist for a hotel room as a temporary living space. The Wewerka Pavilion, however, remains uninhabited at all times; there are no plans to enter the exhibition space. The need for outsiders to be able to see what is on display is fulfilled by the glass walls. The works are located within the architecture. Great Bathers sees them as residents with their own needs and requirements in terms of space.
When you climb the stairs of the Casa de Vidro, you see a painting. It is embedded in the wall. The architecture is built around the painting. It grows around it the way a tree sometimes grows around a fence. If you removed the fence, the tree would have a fence-shaped gap. What would the tree be then - just a tree or a kind of potential fence post, i.e. a part of the fence that is just waiting for the exact piece of wire mesh around which it grew to be replaced?
A sleight of hand? Isn't such a 'work-specificity' inevitably also site-specific? The limping comparison? The lack of agency in it? Ask her.
Momo Weiss studies at the Kunstakademie Münster in the class of Prof. Marieta Chirulescu.
This content has been machine translated.Location
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