Writings

Interview with curator Cassandra Edlefsen Lasch
about Phantom Limbs exhibition

 

Text published in Kilimanjaro Magazine

M A K I N G   L O V E   T O   A R C H I T E C T U R E

 

ON THE 17th OF JUNE, 1979, a 25-year-old Swedish woman named Eija-Riitta Erklöff got married to the Berlin Wall. The ceremony on Groß-Ziethener Straße was witnessed by a small group of friends and was performed with the help of an understanding man who channeled vows on behalf of the wall. As the pioneer of the term ‘Objectum-Sexuality’, Eija-Riitta put a name to her attraction to objects, buildings and structures that she sees as sexual, loving and reciprocal – insofar as all objects are, in her view, sentient beings with souls…

 

Text from Phantom Limbs exhibition

F O R G O T T O N   F O L L I E S  of  S Ø L Y S T

CONJECTURE was invited by The Forgotten Follies of Sølyst , which were cast in a ruined state within the wooded grounds of Sølyst Castle. The follies consisted of a series of oversized and dismembered classical architectural elements cast in white concrete. A collapsed colonnade caused visitors to stray from the castle’s manicured lawns into the surrounding woodland where they in turn stumbled upon The Forgotten Follies of Sølyst. The giant flutings, ruined columns, emerging dome and hieroglyphic details that comprised the follies took inspiration from the dreamlike, eroticised architectural descriptions in Francesca Colonna’s Hypnerotomachia Polyphili….

Text from Phantom Limbs exhibition

P H A N T O M  L I M B S

PROSTHETICS tell the story of the bodies they once fitted in terms of their absences. They cannot help but remind us of the absent limbs that they come to stand in for. Seen alone as bespoke pieces of craftsmanship, they recreate the absent contours of the individual’s body they were tailored to match, and of which they once formed part. Phantom Limbs make space for absence within the tightly-packed rooms of the museum. The teak vitrines that Kaare Klint designed for the museum’s artefacts have turned in on each other, knotted and interlocked in such a way as to repeatedly frame…

Text from Phantom Limbs project

C O M P L E T E L Y  D U S T Y

REJECTION of dust and other deviant dangers plays an important role in maintaining the illusion of order. Completely Dusty is composed of structure provided by benandsebastian and dust provided by Thorvaldsen’s Museum in Copenhagen. The work takes inspiration from Thorvaldsen’s plaster sculptures, whose porous surfaces are stained by decades of dust. Completely Dusty has not reached its full potential without the time taken for dust to settle into its underlying surfaces. The piece’s grooved walnut latticework and leather bindings both harbour dust and are fragile enough to be threatened by the delicate use of a feather duster. While dust slowly unsettles the piece’s obsessive order, attempting to thoroughly clean the piece would most likely lead to the work’s collapse. The piece both accommodates and defends the dust that we try to eliminate from our lives through clean lines and frictionless surfaces….

Catalogue text for Arken Museum of Art