In the photo series Attachments, cloth hangers from my private collection meet ripped pages from André Malraux's Le Musée Imaginaire de la Sculpture Mondiale (1952). This classic organizes universal resemblances across centuries through Western perspective. Here, black-and-white photographs of an imaginary museum encounter colorful domestic objects from my closets.
Hangers attach mimetically—imitating sculptural gestures, matching shapes, extending bodily over page edges, or prosthetically commenting on, adapting, and repairing damaged forms. Attachments describes both physical connection and emotional bonds to objects. "Malraux's universal language fragments when viewed through one's uncanny closet interior," notes Arnisa Zeqo (Facelifts).
„Attachments make us aware that we can find iconic resonances and analogies everywhere if we were to look, but that is hardly a ground for establishing universal visual types.“ (Surface Structures: Memory, Mimicry and the Non-Archive, Alena Alexandrova)
For further readings Facelifts by Arnisa Zeqo; Surface Structures: Memory, Mimicry, and the Non-Archive by Alena Alexandrova
Exhibition view, Granpalazzo, Weingruell, Rome, 2015
Exhibition view, Granpalazzo, Weingruell, Rome, 2015
Exhibition view, Granpalazzo, Weingruell, Rome, 2015
Attachments slides
André Malraux selects photographs for Le Musée Imaginaire de la Sculpture Mondiale, 1947, © Getty Image
Leporello, From the series Attachments, 2015 24 cm x 34cm (open: 96 cm x 34 cm), 300 g matt paper, 8 pages, color Design by Julie Peeters Edition of 350 With an accompanied text by Arnisa Zeqo, Facelifts, 2015
Leporello, From the series Attachments, 2015
24 cm x 34cm (open: 96 cm x 34 cm), 300 g matt paper, 8 pages, color
Design by Julie Peeters
Edition of 350
With an accompanied text by Arnisa Zeqo, Facelifts, 2015
