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UTOPIA (LAMPEDUSA)

tin, lead, sil­ver
83 x 220 x 1 cm
2016

Since Thomas More’s book “Utopia” about the fic­tion­al island of the same name, islands are not mere­ly under­stood as topo­graph­i­cal ele­va­tions sur­round­ed by seas: a non-place or as a place sit­u­at­ed beyond the bound­aries of the known, the island turns into a mir­ror image of the world and rep­re­sents a sym­bol of anoth­er, bet­ter, order. Deal­ing with islands con­se­quent­ly entails depart­ing into the ambigu­ous and blur­ry zone between exist­ing islands and those imag­ined and desired, which envelop mea­ger rocks, pro­trud­ing from the sea, like a fleet­ing mirage. It is notably in the Mediter­ranean that such islands nowa­days can be found, fluc­tu­at­ing between sym­bol and real­i­ty, lur­ing the des­per­ate in over­crowd­ed boats, like sirens. In the sculp­ture “Utopia (Lampe­dusa)” the ambiva­lence between utopia and dystopia, between the desir­able and the deni­able, between hope and cat­a­stro­phe is con­densed in the metal­lic amal­gam of sil­ver, tin and lead.

 

Michael Hirschbichler, UTOPIA (LAMPEDUSA), 2016

UTOPIA (LAMPEDUSA), 2016

UTOPIA (LAMPEDUSA), 2016

UTOPIA (LAMPEDUSA), 2016

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