Page 39 - Katalog Beyond the Box 820 final.indd

red papers and conjures up landscapes with them; she invites play who died at an early age, would certainly have liked the oddly as-
with ‚Sonic Rotating Geometry Type‘, demonstrates architecture sembled porcelain trophies, which, despite their uselessness, were
with slides or orients herself towards a historical event as in ‚5, rue made in Dresden from noble bone china. That Dohmen has acqui-
Saint-Benoit‘. This multi-part ensemble is named after Marguerite red works by the Bulgarian shows how closely he follows develop-
Duras‘ apartment in Paris; in this former meeting place of the Résis- ments in art and how strongly his attention is directed towards the
tance, the writer nursed her husband back to health after his return future. It also becomes clear that he has long since abandoned his
from a concentration camp. The private and the public, particularly initial tendency to spontaneously acquire pieces out of pure enthu-
in kitchen and bathroom, mix in an irritating, even painful way for siasm in favour of keeping his eye on the collection‘s context; The
Yang, and she has devised the installation from containers cons- collected became a collection. How well Dejanoff‘s ideas sit along-
tructed with blinds ‚according to the dimensions of various kitchen side those of Haegue Yang or Hernández.
appliances and bathroom equipment in her apartment, such as a
shower cubicle, a radiator or a refrigerator‘. This quote from the The Belgian artist Wim Delvoye also belongs in this circle. He re-
booklet for her 2018 Museum Ludwig exhibition shows that works assesses discarded everyday tools such as saw blades (‚Beatrice‘)
from the collection have long been integrated into large museums‘ or gas canisters (‚Butagaz 50‘) and renews their statement by ad-
exhibits, after all, Dohmen has acquired important pieces from Yang ding traditional Delft flower decorations. With their blue and white
as well as from other artists. patina, the art works are of a seductive beauty, yet still reveal the
original workpiece. The object‘s meaning changes, it is transformed
Similarly, in the case of the young Bulgarian artist Plamen Dejanoff, purely by altering the surface. In this way, the boundaries between
works that have grown out of personal experience point far into design and art, high and low are abolished. Delvoye achieves a si-
areas of general significance. He is for example still planning a new milar effect when he spreads slices of sausage and ham into orna-
edition based on the system-critical Czech magazine „Plamen“ (Fla- mental tableaus (‚Marble Floor‘), highlighting the reckless handling
me), with the photo of his revered football star Trifon Ivanov on the of food stuffs for the observer. With both groups of works, Delvoye
cover. Poster designs already announce his plan. The rebel Ivanov, humorously criticises the consumer, so easily seduced and even

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