I like that the word 'chair' has so many different forms. I worked on this room for many years, and it will be shown for the first time in Antwerp. It reflects a desire to give a forgotten word a new, but fake life. I also made a fake Wikipedia website that will go online soon. When I make bigger shows, I like to think about a musical composition, how the rooms follow each other and how they make different sounds. They seem to be from different periods, regions, and artists. I made many different images of Skiapodes. The other part of the room is dedicated to one word that is kind of forgotten and not really used: Skiapode. At the ceiling of the entrance, you can find the complete group of my newspapers, which contains every single word that exists in English. It is called Room with All Existing Words (2005–2022). MMI just finished a work that is important to me. Ocula Conversation Kristaps Ancāns: Propaganda Now Read More In Kitchen (Reduced to 88%), the water feels frozen and falls into a perfectly round hole with edges as sharp as a stainless-steel knife. In Isolated Bathroom, the water moves a fake ballpoint pen that hangs above a hole. MMYes, these are two moments that have a more complicated relationship with time. Was this intended? How about Kitchen (Reduced to 88%) (2002), in which you regulated the water, so it appears to be still and material? But in Isolated Bathroom (2003), there is a sense of endlessness in the continuous motion of the water, or perhaps a never-ending present that is just past. While your works are usually motionless, they lead viewers to imagine what came before and after. NKYou've often spoken about the moment and capturing it in the here and now. Courtesy Collezione Maramotti, Reggio Emilia. Iron, aluminium, painted aluminium, painted canvas, painted epoxy, wood, offset print on paper. Mark Manders, Isolated Bathroom / Composition with Four Colors (2010–2014). The great thing is that these works speak to each other. MMAll the works exist in one big super-moment and are installed to appear to have been suddenly left behind. What leads you to create these in-process-or just-finished-impressions? NKSometimes your sculptures have unfinished textures like wet or unbaked clay, your figures are armless, and although you want viewers to feel as if they have entered an abandoned space, everything about the work must be fine-tuned in your mind. If you make one vertical shorter or thicker, or if you change the colour, the head becomes a totally different chord. Ocula Conversation Hassan Khan’s Systems of Associations at Centre Pompidou Read More NKYou've likened your heads to musical chords. MMWhen you live and think in a totally frozen world, it is logical that you try to find ways to put more time in one single room. Can you say more about these physical ruptures in form? These concrete divisions appear to be comments on space and time. NKI want to talk about the halving or doubling of figures, whether human, as in Unfired Clay Figure (2005–2006), or animal, as in Nocturnal Garden Scene (2005). MMI think that if you place a certain amount of very specific objects in a certain order, it will say something about our minds and lives in relation to our death. I suspect there is a comment on the human-object relationship here, which you have articulated beautifully as: 'How an object outside your body can spark what you think.' 5 What are your thoughts on object-oriented ontology, if any? Ocula Conversation Leiko Ikemura: 'I prefer to leave unfinished traces of imperfection' Read More NKIn A Place Where My Thoughts Are Frozen Together (2001), a femur becomes the support structure for a coffee cup, questioning the evolution of its use value for humans.
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