Press Release

Dan Gunn is pleased to announce the second solo exhibition by Tracey Rose at the gallery. The show comprises a sculptural installation, the first in a series of three versions of a factory for producing white girls’ farts. This first version, First World, is the initial, handmade factory, to be followed by Middle World, which will be machine made and Underworld, which will be formed of semi-precious metals.

The sculptural elements here represent the stages in the production of a white girl’s fart, using as the base material Black Cat Peanut Butter, a classic local brand in Rose’s native South Africa. The use of this quintessentially American ingredient is partly an homage to George Washington Carver, the African American inventor of peanut butter, who was born into slavery in Missouri in 1861 or 1864. The peanut butter is extracted from the Black Cat jars, which is used to bake peanut butter cookies for consumption by a white girl, who produces a fart for filling an empty jar, which constitutes the final product of the factory, overseen by a black cat.

The black cat has long been associated with superstition and witchcraft. In Deborah Willis’s Malevolent Nature: Witch-hunting and Maternal Power in Early Modern England, the author links the witch’s attributed relationship with the familiar to a bizarre and misplaced corruption of motherhood’s maternal power. More recently, the black cat is also a reference to the Black Panthers, the progressive radical black movement in the USA active from 1966 to 1982.

The peanut is also laden with symbolism in many cultures, for example as a term for a small amount of money, an insignificant thing or person, something petty and also as slang for barbiturates. However in Chinese culture, the peanut, huáshēng, is symbolic of long life, prosperity, growth and the multiplication of wealth. Both of these symbolisms are referenced in the production line manifested here. Rose is also referring to The Shed Piece, 2006, by William Pope.L, in which a pipe emerges from a wall spilling a ton of peanut butter onto a garden shed. Pope.L has also examined the history of George Washington Carver in his work. The framed portrait of Carver shown with a plate of the emptied contents of one Black Cat jar is in part a tribute to both figures.

The factory’s purpose is the infinite production of farts from white girls. Each fart, sealed in its jar, comes from an anonymous source and constitutes an editioned work; both artwork and final product of an industrial process. White Girl Fart Factory takes one commercial commodity and transforms it into another.

Images

1 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
2 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
3 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
4 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
5 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
6 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
7 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
8 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
9 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
10 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
11 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
12 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
13 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
14 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
15 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
16 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
17 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
18 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
19 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
20 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
21 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
22 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
23 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
24 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
25 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
26 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
27 White Girl Fart Factory, 2015
mixed media installation
dimensions variable
28 White Girl Fart Factory, 2015
mixed media installation
dimensions variable

Images

1 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
2 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
3 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
4 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
5 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
6 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
7 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
8 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
9 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
10 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
11 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
12 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
13 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
14 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
15 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
16 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
17 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
18 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
19 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
20 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
21 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
22 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
23 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped
24 Perpetual Monologues Apropos of a Loved Being: Los Angeles 1943 - 1991, 2015
iPhoto slideshow projected on screen, HD, colour, separate audio soundtrack on stereo speakers
27' 43", looped

Press Release

Dan Gunn is pleased to announce the second solo exhibition by Adrià Julià at the gallery.

Adrià Julià’s rigorously researched practice engages with memory, displacement and erosion. His film and sculptural installations reconsider the limits of performance, setting history against the present and examining interpretations of histories and societies. This multilayered research evokes theatricality and truthfulness, considering mutation of forms and meanings and their visual possibilities.

The video and sound installation at Dan Gunn uses each of the three rooms of the gallery as different elements in the work, one for sound, one for viewing and one for image. Based on almost 300 images of vintage postcards of the Los Angeles freeway system from the 1940s to 1990s which he found for sale on Ebay, Julia uses iPhoto to create a randomly selected slideshow, continually looping, in which the order and combination of images is constantly changing. Playing separately is a soundtrack of the original messages written on the backs of the postcards, transcripted into a text document and dictated by an electronic voice from the computer. The soundtrack and slideshow are therefore never in exactly the same combination.

The title for Julià’s new video and sound installation is taken from Roland Barthes’ A Lover’s Discourse, in which he dissects the phrase, “I love you”. Drawing upon literary examples, Barthes asks what it means when we state that we love someone. Julià also considered Hartmut Bitomsky’s film Reichsautobahn: Highways of the Third Reich, 1986 and considers the history of the highway system in both Germany and Los Angeles and the relationship between technology and change and human experience and narratives. The anonymity of the computerized voice contrasts with the personal messages written on the postcards to question notions of closeness and expression of sentiment.

There will be a talk between the artist and the curator Natasha Ginwala at the gallery on Saturday, 11th April at 7pm.

List of Works

Musa paradisiaca

“Come back Sir, you’re not from that world. Please, come back Sir, you’re from this world.”
22 November 2014 – 14 February 2015

Dan Gunn is pleased to announce the opening of the first solo exhibition at the gallery by Musa paradisiaca.

There was a man who wanted every woman he saw. One day, a sorceress came, leading the man to an insane desire. She advised him not to pursue his will — it would be too dangerous to be with her.
But he did not listen.

This show is based on a story we have heard about a sorceress and a man. The story describes an impossible desire and a vanishing soul. Trapped between two worlds, we hear a final calling:

“Come back Sir, you’re not from that world / Please, come back Sir, you’re from this world”.

 

LIST OF WORKS
 
 
First room, right to left

Capela (Chapel), 2014
fabric, metal structure, steel cables
310 x 245 x 82.5 cm

Estômago (Stomach), 2014
oil painted pitch
14 x 34.5 x 18 cm

Urna (Urn), 2014
oil painted pitch
35 x 17 x 18 cm
 


Second room, right to left

Saco (Sack), 2014
oil painted pitch
9 x 17.5 x 18 cm

Casca (Bark), 2014
oil painted pitch
20.5 x 26 x 24.5 cm

Pia (Font) 2014
oil painted pitch
12.5 x 34 x 26.5 cm

 

Third room, right to left

Mexilhões (Mussels), 2014
oil painted pitch
14 x 17 x 16 cm

Cantor: Eu vou morrer na cantina / Com o copo de
vinho na mão / O vinho será meu compadre /
E o copo será meu caixão
Singer: I will die in the canteen / With a glass of
wine in my hand / The wine will be my comrade /
And the glass will be my coffin, 2014
patinated bronze head, painted metal tripod
183.5 x 100 x 100 cm

Leões–homem (Lion-men), 2014
oil painted pitch
10 x 39 x 25 cm

Aipim (Cassava), 2014
oil painted pitch
7.5 x 46 x 11.5 cm

Press Release

Dan Gunn is pleased to announce the opening of the three-person exhibition Let The Body Be Electric, Let There Be Whistleblowers.

Let the Body be Electric, Let There Be Whistleblowers is an exhibition of works dedicated to the question of mediality and the body in the machine age. How can we conceive of the worlds that the dawn of modernity brought into being? How have modern inventions redrawn the limits of what can be seen, narrated and known?

Each of the five works on display is dedicated to an invention, and its relation to economy and the structuring experience and hence, in an ambivalent sense, to “magic”: Joachim Koester presents three 16mm films, two of which are dedicated to the history of the sewing machine, and a new work on the apparatus of projection itself; Allison Gibbs’s work looks into the origins of modern accountancy, transcribed into the notational system of hand gestures, and Ken Jacobs presents a work on the early days of the railways, implying an affinity between the cinematic apparatus and the tracks of the railway as means of physical and cognitive “transportation”, respectively.

Ken Jacobs is both an inventor and an archaeologist of media, having developed patent-pending visual effects and techniques of animation, and having worked extensively with found footage and archival materials. Let There Be Whistleblowers is an 18 minute long montage made from short sequences of film stock from the early 20th century, depicting a train arriving and departing from a station. The sequence dissects the original footage, creating a hypnotizing experience that explores the impact of the machine on human experience of time and space, and the impact of film at the nexus between perception, psychology, physiology and technology. The work is made to the sounds of minimalist Steve Reich’s piece Drumming, in which two players are playing a single repeated pattern in unison.

Joachim Koester’s practice focuses on exploring the limits of documentary accounts, and their relation to the sense perception and our image of history. His work is dedicated to the “secret inscriptions” that are found at such limits, exploring the nexus between knowledge and the obscure, and the potential of resistance in divergent forms of mediality, as symptomatic phenomena, but also as sites of social experimentation.

Both Of Spirits and Empty Places and HOWE are works that centre around the invention of the sewing machine. Elias Howe invented the sewing machine and patented his invention in 1846. The sewing machine was on its way to become one of the most important inventions and was to revolutionize the economy. Howe’s patent made the powerful machine too expensive for ordinary people and John Murray Spear, an activist, spiritualist and promoter of Free Love and the women’s Liberation movement in the middle of the 19th century, was one of the people who attempted to bypass Howe and invent a new and affordable sewing machine. Spear’s ambition was to revolutionize the relations between the sexes by giving women an opportunity to make enough money to take control of their lives.

According to Spear, the drawings of this new sewing machine were already present in the spiritual realm and Spear organized group séances in 1861, in which the participants would enter a trance and become automated parts of the machine, together forming a model for its actions in a working whole, their utterances becoming part of Of Spirits and Empty Places, conjuring a liminal space that combines sexuality, sleep and spirituality. While the text narrates the story of Spear without showing the experiments of the séance, HOWE presents close-ups of the revolutionary, mass-produced sewing machine that had been patented by Howe. 

Reminiscent of the sexualized deptictions of machines in the revolutionary cinema of the 1920s and 30s, Koester’s film Body Electric shows the close up of the body of a 16mm projector. The work is juxtaposed with the other works on the invention of the sewing machine and points at the great similarity between the sewing machine and the filmic apparatus, as both come to represent, capture and preserve bodily actions. Like the mechanics of the sewing machine, the main problem of projection was to create a continuous movement of the film. In developing the Cinematograph, the Lumière brothers drew on the mechanism of the sewing machine by adapting the “presser foot” mechanism to move small sections of film quickly across the lens, allowing a short period of time for each frame to be stationary for exposure. 

Allison Gibbs’s new film How to wash your hands in molten metal is based on her research on Luca Pacioli, the Italian monk who published a treatise on Arithmetic, Geometry, Proportion and Proportionality in 1494 which would become the basis for double entry bookkeeping and modern accountancy. Pacioli became Leonardo Da Vinci’s friend and teacher and both were involved in creating On The Power Of Numbers, the first manual that teaches how to perform magic, considered the basis for modern magic and numerical puzzles. Double entry bookkeeping introduces a sum on a balance sheet that in fact has no meaning but needs to be identical both on the credit and the debit side in order to prove that all transactions have been registered. In her new work Allison Gibbs translates the financial information of her own accounts into the hand gestures registered in Pacioli’s masterwork on accounting. Following the logic of the balance sheet, she shows her credits on the left hand side and her debits on the right, introducing also a medieval coin.

Images

1 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
2 Ken Jacobs
Let There Be Whistleblowers, 2005
black & white video projection, stereo sound, 18'
3 Ken Jacobs
Let There Be Whistleblowers, 2005
black & white video projection, stereo sound, 18'
4 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
5 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
6 Allison Gibbs
How to wash your hands in molten metal, 2014
colour 16mm film, silent, 7' 15"
7 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
8 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
9 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
10 Allison Gibbs
How to wash your hands in molten metal, 2014
colour 16mm film, silent, 7' 15"
GIBB_STILL_19 Allison Gibbs
How to wash your hands in molten metal, 2014
colour 16mm film, silent, 7' 15"
GIBBS_STILL_14 Allison Gibbs
How to wash your hands in molten metal, 2014
colour 16mm film, silent, 7' 15"
GIBBS_STILL_11 Allison Gibbs
How to wash your hands in molten metal, 2014
colour 16mm film, silent, 7' 15"
GIBBS_STILL_15 Allison Gibbs
How to wash your hands in molten metal, 2014
colour 16mm film, silent, 7' 15"
11 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
12 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
BODYELECTRIC5 Joachim Koester
Body Electric, 2014
16mm film installation, black & white, mute, 3'
BODYELECTRIC2 Joachim Koester
Body Electric, 2014
16mm film installation, black & white, mute, 3'
BODYELECTRIC1 Joachim Koester
Body Electric, 2014
16mm film installation, black & white, mute, 3'
13 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
14 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
15 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
16 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
17 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
HOWE2 Joachim Koester
HOWE, 2013
16mm film installation, black & white, mute, 4' 23"
HOWE1 Joachim Koester
HOWE, 2013
16mm film installation, black & white, mute, 4' 23"
18 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
19 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
20 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
21 Let The Body Be Electric, Let There Be Whistleblowers, 2014
exhibition view
Of_spirits_still4 Joachim Koester
Of Spirits and Empty Spaces, 2012
16mm film animation, black & white, mute, 6' 50"
Of_spirits_still1 Joachim Koester
Of Spirits and Empty Spaces, 2012
16mm film animation, black & white, mute, 6' 50"
Of_spirits_still2 Joachim Koester
Of Spirits and Empty Spaces, 2012
16mm film animation, black & white, mute, 6' 50"

Images

1 Prospects, 2013
five framed silkscreen prints
2 Prospects, 2013
five framed silkscreen prints
3 Prospects, 2013
five framed silkscreen prints
4 Prospects, 2013
71.5 x 96.5 cm
5 Prospects, 2013
105 x 42.5 cm
6 Prospects, 2013
71 x 92.5 cm
7 Prospects, 2013
98.5 x 71 cm
8 Prospects, 2013
70 x 88.5 cm
9 Resurrections, 2014
exhibition view
10 Resurrections, 2014
exhibition view
11 Resurrections, 2014
exhibition view
12 Phantom (1), 2014
animation on monitor colour, silent, 55” loop
13 Phantom (1), 2014
animation on monitor colour, silent, 55” loop
14 Phantom (1), 2014
animation on monitor colour, silent, 55” loop
15 Resurrections, 2014
framed silkscreen prints, diptych
poem by Keston Sutherland, each 125.5 x 91 cm
16 Resurrections, 2014
framed silkscreen prints, diptych
poem by Keston Sutherland, each 125.5 x 91 cm
17 Resurrections, 2014
exhibition view
18 Resurrections, 2014
exhibition view
19 Resurrections, 2014
exhibition view
20 Resurrections, 2014
exhibition view
21 Resurrections, 2014
exhibition view
22 Resurrections, 2014
exhibition view
23 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop
24 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop
25 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop
26 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop
27 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop
28 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop
29 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop
30 Resurrections, 2014
HD video projection, black & white, sound
Composition by Natalia Dominguez Rangel, 16:9, 6’ 37“ loop

Images 19 April – 31 May

1 Horowitz plays Kinderszenen, op. 15
2 Horowitz plays Kinderszenen, op. 15
4 Von fremden Ländern und Menschen, 2014
tainted cement, 17 x 12 x 8 cm
3 Glückes genug, 2014
tainted clay, 17 x 14.5 x 9.5 cm
5 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
6 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
7 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
8 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
9 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
10 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
11 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
12 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
13 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
14 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
15 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
15a Olga
16 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
17 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
18 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
19 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
20 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
21 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm