What do you do with the mummy?



It has happened several times: Adherents of one god destroy images of another god. Akhenaten He ordered the defacement of statues Amon, the Israelites (after fondling the golden calf) liquidated the Canaanite idols and the Christians tore apart the pagan pantheon as soon as they had the chance. Do nothing, some good gentlemen from problems They blew up cities Nineveh And Destroy.

In the year 630 Mohammed conquered a city Makkah And I ordered the destruction of the sacred images of the Kaaba: Those who represent people or animals are polytheists. From that moment on, Muslim artists had to figure out how to get around such a bloody ban for their union. They made the virtue of necessity, distorting and simplifying the Arabic spellings, and turning the lines of text into a tool for alluding to the world.

with The destruction of the Kaaba idolsAnd Monia bin Hammoud (Milan, 1991) recreates it in lit home A moment of stillness amidst the roar of icons’ movements. Some linear figures float, among the orange light, on the burnt wood; The smell of spices scattered on the ground intensifies the air. The visitor can crowd over the strange scene. Here, among the logs, a charred hand sticks out; There, on the broken railing, the scribbled spirit seems to escape. Through the use of light and shadow, Bin Hammoud forms a mysterious and captivating installation that does not go out of style with each visit. Detailed figures armed with characters (in which the viewer can imagine a claw, a wing, and a face) give the whole a liveliness that contrasts with debris That the rest is scattered on the floor. signed, red handedTo the fleeing souls of kindred things.

In the wake of the past legalArtists and pens respectfully threw the most opportunistic suggestions. Every fashion logo supports gigs and gigs. Fortunately, Bin Hammoud’s presentation does not fall into the literal meaning or simplification, but it is presented to us expertise (I know, the little word brings) captivating and beautiful. What a surprise after reading the introductory text in it Neringa & Ccaron; Erniauskait & edot; & Eugnius Gelguda Explain Demand flexibility, the series of exhibitions of which it is a part. For two decades, the word ‘flexibility’ has been in vogue. […] This curated program of four individual exhibitions aspires to reclaim it, distance it from neoliberal concerns, and delve into it as a form of healing, resistance and endurance,” reads the sign at the entrance. In short, rejoice in the effort: something that hasn’t been intended as futile since the Children’s Crusade .

Just a few days ago, the National Museum of Anthropology It announced the removal of human remains from its facades. The decision adds to a trend already initiated by several other organizations: Pitt Rivers Museum, Oxford He returned the ones that were in his collection and used the blank models to explain the reasons for this decision. Even the bastards of British (and all museums in Great Britain) wanted to join the bandwagon by naming mummies for life as “mummies”. Of course, without returning them, let alone denying their visitors to do Personal Photos With a body packed to some def.

in it Andalusian Center for Contemporary Art It can be visited until September Postmortem Viewswhich is exhibited Gala Boras Kim (Bogota, 1984) Wonder What to do with funerary and ritual objects. We live in the era of environmental conservation: everyone agrees that blowing up some Buddha statues in Bamiyan is fatal. The Gate of Ishtar is best included in the Berlin section. I’m afraid though both works are violent to varying degrees. Because of this concern, Boras-Kim confirmed with some museum directors, to express the discomfort experienced by some of the pieces in their collections They shouldn’t be there.

The curator of the British Egyptian and Sudanese section wrote: “It is possible that some have already adapted the forms in the halls and storerooms of their institution, so that, by their preservation, the museum has become their present place of residence.” . “Because we lack certainty about the mechanics of life in the afterlife, we can interpret the permanent plans of the people in charge of you as a guide to their care and, therefore, their fairness.” In another, full of irony, he refers to a manager Brazilian National Museum – who was cremated in 2018, and who guards the remains of Luzia (“the oldest woman in South America”) – that “it is easier to leave the museum by cremation than to do so as a result of the collection policy.” “When the museum issues the figure in which, in its opinion, Luzya should be as a thing, she will again return to her life as a corpse.”

In addition to these letters, the gallery (located in the “huge” rooms of the old rented building) Combines business that proposes to take care of these distressed things. For example, a reproduction of a Fifth Dynasty coffin (preserved, of course, in the British) with rotation lines drawn around it that would restore its original orientation (the Egyptians, like many cultures, buried their dead facing forward). ). The exhibition is completed by numerous graphite drawings in which funerary paintings or magical items are reproduced, fruitsmemory exercises (in muscle memory2017, a dancer attempts to reproduce a traditional dance without signs or music), works about lost or almost forgotten languages, as well as some attempts at necromancy: to find out the state of the dead, you have to ask them.

For the group of these pieces, generally small and subtle, two large works are opposing. We met in the closet prediction signal (2021), a device composed of burlap and graphite that, suspended, filters the moisture of the air by dripping a black liquid that is drawn onto the ground. In the nave, a wall reinforced with cement and salt is waiting to collapse. Untitled (flowering) (2018), parodies a Mexican trick: circumventing a ban on demolition of historic buildings by drilling holes in them and filling them with salt. Thus, the rock salt decomposes the cement and the house collapses. I don’t know if the times of the exhibition will allow a breakdown: it would be sad if one could trust the only thing that could be seen.

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Let’s face it: There is something beautiful in destruction. Stockhausen actually said it after 9/11: “What happened is the greatest work of art of all time.” During the last Holy Week, many virgins were kind enough to be burned. Sadly, there was no respected photographer and all the photos are blurry and full of fat pixels. However, she is beautiful. Few things are as sacred as fire, listen.

Every artifact, even if it belongs to the gods, carries within it the germ of its own annihilation.

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