Melusine’s Works #Muzej Premoderne Umetnosti, Spodnji Hotič, Slovenia, July 2016. In the framework of the collective project and exhibition Kuratorij.

2016, ASSOCIATIONS | ASOCIACIONES, Cardboard | Cartón, Constructions and dismantlings | Construcciones y desmontajes, Hotič, Installations | Instalaciones, Kuratorji, Melusine's Works | Trabajos de Melusina, Residencias | Residencias, Slovenia | Eslovenia, Video, Wood | Madera


2016, Actions | Acciones, ASSOCIATIONS | ASOCIACIONES, Ljubljana, Melusine's Works | Trabajos de Melusina, Meta City Symptoms / Materialni Pogoji Produkcije, Monuments | Monumentos, Public Space | Espacio público, Slovenia | Eslovenia, Tableaux vivants, Unveiling (After Tadej Pogačar), Vernissages, Video

Unveiling (After Tadej Pogačar) #1 Angela Vode



Some images from the opening of Fragmente eines ungebauten Hauses, an exhibition of paintings, drawings and videos produced between May and June, 2014, at the studio in Liethwisch, thanks to the support of Susanne and Allan Mc Hardy-Gressmann .Imágenes de la inauguración de la muestra Fragmente eines ungebauten Hauses, consistente en pinturas, dibujos y un video producidos entre mayo y junio de 2014 en mi estudio de Liethwisch, Hamburgo gracias al cariñoso apoyo de Susanne y Allan Mc Hardy-Gressmann.

Photos | Fotos: Henrike von Dewitz.

2014, Archaelogies | Arqueologías, Cardboard | Cartón, Chalk | Tiza, Coal | Carbón, Drawings | Dibujos, Germany | Alemania, Hamburg | Hamburgo, Ink | Tinta, Lee Miller, Lietwisch, Lime | Cal, Marker | Marcador, Medusa, Paintings | Pinturas, Paper | Papel, Pigments | Pigmentos, Solo exhibitions | Muestras individuales, Tableaux vivants, The girl in front of Grippo's owen, 1972 | La niña del horno de Grippo, 1972, Vernissages, Video



A small tour through Tempel of Medusa in the yard of Frappant e.V., Hamburg, Germany, 9th, June, 2014. 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, Group shows | Muestras colectivas, Hamburg | Hamburgo, ICA | Institute of Consensual Art, Installations | Instalaciones, Medusa, Melusine's Works | Trabajos de Melusina, Tempel der Medusa, Temples | Templos, Video

Anonymous intervention on Tempel der Medusa