Curators’ presentation text (excerpt):
How can art endure, age, change? How can the museum create and cultivate relationships with artists, as well as with private and public partners? Indeed, how can it use and enrich the history of its own collection? How can the collection be developed and extended in future? Both in good times and in bad?
A new special exhibition will address these questions, focussing in particular on one influential feature of the museum as a public site: it undertakes a responsibility over a long period, promoting discourse and fostering connections and relationships. Five artists from the contemporary collection: Monika Baer, Katharina Grosse, Svenja Kreh, Chiharu Shiota and Georg Winter, were asked for suggestions regarding which artist or which work they consider to a be fitting counterpart for their work.
Pilar Millán answers to the curators about Chiharu Shiota’s invitation as her counterpart for her work Waiting 2012:
I found this concept in the curatorial proposal itself: bring things to light again or bring them to re-birth from the ashes like the mythic bird. The ashes from the seats burnt by Shiota.
In the Textum project (2008 – 2015) I recorded the images and voices of weavers from different cultures and languages: the loom as the symbol for communication. In the images of the films shot and the materials used for weaving, ash is always present since it is used to whiten the threads. Clarify, illuminate, lighten. From the black thread of Shiota to the white thread I filmed in southern Mali.
Bring to light and also to come to light, appears in the insight of Die Lichtung (the clearing, an open space in a forest)as a site or state of openness, as the only way to get insight. Though looking at my pieces, as selected by the curator, it’s plain to see that I prefer Maria Zambrano’s idea of Claro (clearing) as a place for listening more than a place for vision. Or maybe: the perfect space for a dialogue to start. So dearly needed these days.
KUNSTBULLETIN 3/2018, Zürich: