Patrizio Di Massimo’s works The Negus said: give me the lion keep the stele! and Duet for Cannibals, in which he referred to the post-colonial situation in his native Italy, were previously seen at SMBA during the exhibition See Reason.
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For the same reason, she can wax enthusiastic about the porno-chic of Sylvia Kristel in the Emmanuelle films or, even more risqué, the video clips of Serge Gainsbourg, in particular the one where he is in bed with his daughter Charlotte (Lemon Incest).
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The building block had been torn down for speculative reasons and she was aware that her sense of logic was distorted in that nonexistent place; dealing with awkward questions as to what color to paint the entrance and if the backroom should enhance the pinkish hue of the evening lights.
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Whatever their personal reason for performing these actions, the artistic setting created by Ögüt provided the way out: it is art’s power to break with conventions and to engage in the philosophical discussion about the human quest for meaning which fascinates Ögüt and drives his artistic practice.
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I believe that this is one of the reasons why his work has had to make the leap into space, into the installation: to underline a relation between ethics and aesthetics that conditions or tries to control our individual behaviour and which is found most subtly and generally in the field of architecture.
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It is the same with a family which is trying out various pornographic activities in the drawings that serve as a decorative motif for a paper carpet in the installation Happier & Healthier, when the head of one of the characters disappears in one of the scenes for no apparent reason other than aesthetics.
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