Seen from the perspective of the discipline of sculpture, both bodies of work in the exhibition Harem would have to be considered as not entirely legal. Also, together both types of work give an unforeseen ‘light touch’; especially in the way they are hindering the chances of a full view on either element. The two bodies of work are in each others way; the black boulders present obstacles, ruining the chances of a single perspective, each work obstructing the view of the other. The eye must move and keep moving, in search of a vantage point from where a good view and a perspective might be possible. This work of Aglaia Konrad, Schaubuch-Skulptur, is constructed from snapshots, taken over the past decades and turned in to a pocket album. lt seems to represent classical ‘sculpture’, when displayed in photography, white the work of Suchan Kinoshita, called lsofollies, seems to have been made by hiding all of its material content from the eye. lt is a well-kept secret that the boulder’s content consists of wrapped up leftover garbage from museum installations. Rejecting any rationale for the incidental merging of the two bodies of work, this exhibition makes space for a selected number of abjects in a limited environment, which we call ‘Harem’.

Aglaia Konrad Projekt: Skulptur, 2017 BW

prints on ecoboard, stones, 178 x 120 cm. Ed 3/3

Suchan Kinoshita

Isofollies, 2007-2017

Mixed media (wrapped plastic, oil). Variable dimensions