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
THE RESIDUE ATLAS
IN THIS LE MUSÉE IMAGINAIRE WORK, COFFEE STAINS NAMED AFTER SATELLITE‑SEEN DISASTERS PAIR WITH MALRAUX’S PHOTOS FORMING AN EARTH OBSERVATION BACKCASTING REPORT THAT READS WASTE RESIDUES AS SIGNS OF CLIMATE DAMAGE.
2026, artist book, 29,5 x 24 cm, b&w, 380 pages, bronze, dimensions variable
A speculative Earth-observation backcasting report, the book pairs coffee-stain photographs with rephotographed images from The Imaginary Museum of World Sculpture III, sometimes overlaid with map fragments.
Each stain is named after a corresponding satellite image of disasters, climate change, or resource extraction, reversing fortune-telling by linking residues to what has already occurred.
Bronze casts of iced coffee lids and wax poured into cold coffee form a kind of global cruciger.
Presented as a large coffee table book, it connects everyday coffee waste to broader systems of consumption, labor, belief, and extraction.
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
