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MONROE & CHIPS

INSTALLATION

 Materials and layout:

- Ketchup bottles numbered series with MM Warhol sticker overdrawn in skull with black Bic pen. They are distributed on the floor by rows and columns, creating corridors where spectators can walk. (The red boats with a black painted stopper and lines of black wax run through his body.)

 

-Candles on ketchup boats.

- Chain and hook on the roof of the center of the room. From the hook hangs a black ketchup jar with his open lid.

- Piece of sacred cloth century. XVIII of the cathedral of Santa Maria de Sigüenza in wall background of the room.

- "EXIT" neon sign flashing in red light hung with chains in sacred cloth.

- Golden skull under the "Exit" sign next to the sacred cloth at the back of the room.

- Potatoes fried dyed black under the ketchup boat hanging in the center of the room and in the background, next to the golden skull.

Audios played in loop:

 

- Fragment of conversation between  Joseph Campbell and Bill Moyers, The power of the myth, 1988.

- Fragment interview with Jung,  The World Within: C.G. Jung in His Own Words, 1990.

- Poetry "La rabbia", La rabbia, P.P. Pasolini, GG 1963

- Drops

Texts entrace to the room:

"If you want to know what a society without myths or rituals is, read the New York Times."

Joseph Campbell, The Power of Myth, 1988

 

"And we think we can be born and live without myths, that's a disease, it's completely abnormal."

The World Within: C.G. Jung in His Own Words, 1990

 

 

 

PPP:

“[…]il darsi agli altri troppi allegri sguardi

che chiedono la loro pietà! Così

ti sei portata via la tua bellezza.

Sparì come un pulviscolo d’oro.”  

 

"[...] too many cheerful looks.

They ask for a little mercy.

So, you will take with you your beauty,

you will disappear like gold dust. "

 

La rabbia, (The Anger) P.P. Pasolini, GG,1963

The spectators see the red light blinking like a call before crossing the access door.

Once inside, the spectators will be able to contemplate the installation without entering it, skirting it, walking around its contour, or walking through its interior, between the corridors formed by the ketchup boats.

The spectators will be profane and sacred beings.

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