Two days following the inauguration of the Tempel der Medusa I returned to take some pictures and found that somebody, possibly more than one person, had intervened the installation in a very awesome way. On one side of the temple he, she or they simulated a kind of living room set up with found objects. It looked as if it had been recently used by a group of people sitting round the fire and eating. At closer look one realises that the remains of the “dishes” are made with sand, soil and tree-leaves. Inside the “temple” there is new furniture: a wardrobe, cabinet and closet, while a large tree trunk stands in the middle of the central space by the painted fire. And, rudely embedded on a wall, we see a home-made pink flag with the following words painted in black: “BLEIBERECHT FÜR ALLE” [Right to stay for all]. When I saw this I knew everything was right. The installation had been used, its spirit understood, other meanings superimposed, and a new and anonymous complexity had thus arisen. From Melusine in Lampedusa (Francisco Tomsich in conversation with Polona Fatur), the Introduction to the book Tempel der Medusa | Templo de Medusa (Ediciones del Viento, 2015).

2014, Germany | Alemania, Hamburg | Hamburgo, ICA | Institute of Consensual Art, Lee Miller, Medusa, Melusine's Works | Trabajos de Melusina, Public Space | Espacio público, Studio Diaries | Diarios de taller, Tempel der Medusa, Temples | Templos, The girl in front of Grippo's owen, 1972 | La niña del horno de Grippo, 1972

Anonymous intervention on Tempel der Medusa

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