‘Sorry, I just Dropped my Guts’, Artist proposal, Casula Powerhouse

‘Sorry, I just Dropped my Guts’, Artist proposal, Casula Powerhouse
23.06.2000 Dani Marti

Casula Power House.

The Lounge

Sorry, I dropped my guts

The installation will consist of a long brown netting mesh stuffed with balls of 110 mm diameter, and it will rest on the floor of the lounge.  The netting is extruded plastic and the balls are of polystyrene.

The installation is specially created for the space. The physical space of the lounge becomes an intrinsic part of the conceptualization of the piece.

The proportions of the display unit, and the readings of the space as a corner of any household, create an enclosure which becomes a cocoon for the work.

Sorry, I just dropped my guts The installation will consist of a long brown netting mesh stuffed with balls of 110 mm diameter, and it will rest on the floor of the lounge. The netting is extruded plastic and the balls are of polystyrene. The installation is specially created for the space. The physical space of the lounge becomes an intrinsic part of the conceptualization of the piece. The proportions of the display unit, and the readings of the space as a corner of any household, create an enclosure which becomes a cocoon for the work. One is drawn to a piece which is a metaphor of the digestive system, the viewer stands looking down at the piece from above. The brown formation hovers between notions of evolution and decay, and domesticity. The guts (or excreta) are presented as a "beautiful" process, as almost idealistic gestures of common humanity. The viewer is presented with an organic assemblage, bringing a sense of ambivalence; conflict that seeks a balance between an adversity and seduction. Gazing at the soft curves reminiscent of body organs, the viewer becomes repelled yet enchanted projecting his/her own subjectivity on to the piece. There is a visual pun that expands the object out of both daily banality and art world sterility

One is drawn to a piece which is a metaphor of the digestive system, the viewer stands looking down at the piece from above. The brown formation hovers between notions of evolution and decay, and domesticity.  The guts (or excreta) are presented as a “beautiful” process, as almost idealistic gestures of common humanity.

The viewer is presented with an organic assemblage, bringing a sense of ambivalence; conflict that seeks a balance between an adversity and seduction.  Gazing at the soft curves reminiscent of body organs, the viewer becomes repelled yet enchanted projecting his/her own subjectivity on to the piece.

There is a visual pun that expands the object out of both daily banality and art world sterility.

 

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