A Retroactive Monument for a Chimerical City - 1999

Exhibited at the ‘Corneesh’ (Beirut’s seaside promenade), produced by Ashkal-Alwan

 

 

I want to be what the official “Corneesh” discourse wants me to be. I want to please the new Arab Lebanon, the public, the ministry of culture and organizing committee, of course. I want to be an artist.

I will buy and exhibit a plaster statue. I would have preferred marble but it’s expensive, it’s alright though, because I will paint the plaster statue gold. It will certainly be a statue of a woman, because a woman’s body looks better than that of a man. This is common knowledge.

 

 

 

 

I will place the statue on a gold pedestal, facing the sea. The people who will sit on the bench covered with red velvet cushions will have the woman’s bottom in their faces, but it’s alright because it will be painted gold.

 

 

 

 

 

 

 

Extracts from an imaginary interview with the artist who created the Gold Statue:

What does abstraction represent to you?

Abstraction is a very authentic and traditional mode of expression, since Islamic Art, based on the repetition of geometric forms.

And sculpture?

I wonder how I got to sculpture. I don’t know.

What was the reaction to your avant-gardist style?

The public received my first works very badly. It continued till the mid 80’s, but it changed dramatically since I started having shows in Europe’s and the world’s greatest museums.

What do your sculptures add to the house they’re in?

They are a pleasure to the senses, like a beautiful woman we would like to look at her all the time.

Do you like women?

Of course.

 

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