Restless Monuments
Zilberman Gallery is pleased to announce the group show 鈥淩estless Monuments鈥�, curated by Bettina Klein and Naz Cuguo臒lu.
鈥淩estless Monuments鈥� is an exhibition in response to the rapid transformation of the city as a result of political ideologies. Blunt, authoritarian, decision-making processes that exclude collective input lead to the disappearance of places, objects, habitudes, and eventually to a strong feeling of loss by those who are often most directly affected by them. This exhibition explores the idea that diverse objects and situations, outside of any sanctioning by authorities or agencies of the state can, over time, begin to serve as 鈥渕onuments鈥� for individuals, small groups and communities.
The title carries a contradiction in itself, as none of the works in the show represents a monument in the strict sense, instead they鈥檙e dealing with public sculptures and their symbolic and economic value, with objects that trigger or represent personal memories, and with monuments that could have or should be built. The term 鈥渞estless鈥� addresses here the insecurity and unsteadiness of a contemporary situation, but also the physical fragility of the objects themselves. Challenging the idea of monuments as objects that are no longer remembered or found relevant, the works in the exhibition instead suggest reconsidering them as objects providing a space for debate and encounter.
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Zilberman Gallery is pleased to announce the group show 鈥淩estless Monuments鈥�, curated by Bettina Klein and Naz Cuguo臒lu.
鈥淩estless Monuments鈥� is an exhibition in response to the rapid transformation of the city as a result of political ideologies. Blunt, authoritarian, decision-making processes that exclude collective input lead to the disappearance of places, objects, habitudes, and eventually to a strong feeling of loss by those who are often most directly affected by them. This exhibition explores the idea that diverse objects and situations, outside of any sanctioning by authorities or agencies of the state can, over time, begin to serve as 鈥渕onuments鈥� for individuals, small groups and communities.
The title carries a contradiction in itself, as none of the works in the show represents a monument in the strict sense, instead they鈥檙e dealing with public sculptures and their symbolic and economic value, with objects that trigger or represent personal memories, and with monuments that could have or should be built. The term 鈥渞estless鈥� addresses here the insecurity and unsteadiness of a contemporary situation, but also the physical fragility of the objects themselves. Challenging the idea of monuments as objects that are no longer remembered or found relevant, the works in the exhibition instead suggest reconsidering them as objects providing a space for debate and encounter.
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