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“We see a kind of section from a massive and all but endless row of swaying and wobbling chairs. The reference to the founder of the Chinese Communist Party in the 1920s, Mao Tse-Tung, is evident. Nevertheless such a title also allows thoughts about other large-scale migrations of living creatures. Think of the wildebeest in the African plains, or flows of refugees, escaping from whatever atrocities.” (from Chairs and Titles by Chris Manders in All in the Family, 2016)
Everything hidden from view by canvases, protected against dust and paint (the splashes clearly visible), the renovation was radical. My subject literally went under sail for months because all the energy went into the renovation. I sporadically recorded something from that period. Those impressions were the first thing I got out of my hands when the canvases were pulled up and the dust was sucked away, making the studio workable again.
One of the many round works that I have made. Just like earlier Zenit (2004) and later Zitten bij Itten and Perpetuüm mobile a never-ending cyclical movement. Here the performance goes into depth because the railings are getting smaller and smaller. The light enhances this and turns the whole into a kind of vault.
Wheelchair, high chair, train seat to mix up a bit with some familiar elements. Actually exactly what I did a lot with my young children with kapla or lego quite a few years ago. Play what I used to do a lot myself, of course; build endlessly and actually I still do.
Reflection is something that literally happens in the right circumstances. In a metaphorical sense, it is of course also an important property. Kind of a meta skill. The chair draws us into this scene through the overshoulder. We take a look at a (the?) Committee, the tribunal on the other side, a certain tension is felt and visible in this way.