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Grabmal

Installation, Video Art
Grabmal
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Grabmal (Ma’am) مقام
Video installation 2002 together with Artist Gülcan Turan, within the group Exhibition “Right on time” Curator Daniel Bräg at the Dom Museum, Frankfurt – Germany

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Grabmal in German or Ma’am مقام in arabic is a holy grave for a holy person, people visit the grave to pray and wish things for themselves and their relatives or friends, what interests me that many people believes that the dead guy still has the power and the connection to god, and his grave is a communication access point. Consequently، I decided to imitate this symbol (the grave) in the exhibition hall in frankfort dom-church and projected a sufi dancers video in the background walls to put the viewers on the same situation and see how it would affect the inspectors. It’s another experiment of mixing both western and eastern cultures.
Imagine the exhibition situation of a church with a muslim holy grave inside and a sufi music and islamic sound coming out of it.

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The Grabmal Project has been exhibited within the “Right On Time” group exhibition in the Dommuseum, Domplatz 14, 60311 Frankfurt, Germany 2004

Download the Right On Time – Press release

 

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<< right on time >>

on Dying, Death and Memory!

is how the students of the Academy of Fine Arts Munich (ADBK) have named their exhibition at the Cathedral Museum. Being up-to-date for them also means incorporating the knowledge of dying and death.That’s why they have reflected on dying, death, and remembering. They have collected symbols of death from cultural history and transferred these symbols to the present time. In the process, new symbols have emerged, symbols of dying and death that can still evoke memory today.The range of works displayed in the exhibition is broad. From tombstones, as a sign of remembrance for a deceased grandfather, to the Dance of Death as tin toys, from the old relic cult to urn designs and death shrouds, dying, death, and memory are processed and displayed in many objects and installations. The exhibition aims to encourage not to repress dying and death and to reflect on mourning and memory rituals. It questions the culture of dying, death, and memory and calls for its cultivation. The project was curated and realized by Munich artist Daniel Braeg, who works at the Munich Art Academy and has previously exhibited at the Cathedral Museum. Robert Barta presents gargoyles for Frankfurt in the cathedral garden. They remind us of a situation in the cemetery. Pouring the grave and caring for its planting are important elements of the memory culture for our deceased. In the foyer of the cathedral, Lita-Dorothea Zimmermann shows the balloon installation “somewhere,” which poses questions to us and reminds us mortals of our situation in the foyer of death. At the same time, it directs our gaze from the earth to the sky and lets us sense the path of the souls. In the museum, the farewell room by Celine Cellocco occupies a central position, not least because of its size. It aims to be a place of rest and remembrance, but it also causes pain, like grief and death, thus reminding us that life exists. Fumie Sasabuchi’s untitled ceramics speak of death and life. They depict these two poles of human existence in two faces. Susu Garth presents urns glowing with light under the title Memorie. The memory can be like an ember within us, and we let some of what we want to remember glow and shine decoratively in our living rooms. The Christmas tradition as a memory tradition testifies to this. With the video “Maidi,” Susanne Wagner tells the story of her grandmother, whose picture she shows and lets her speak about life and death. Cornelia Kohler places a memory stone – Memento – in the space. Hands and feet protrude from the stele. When touched, warmth is a final sign of life. Christian Engelmann‘s tombstone aims to remember his grandfather. Yet, it also stores the artist’s memory of his grandfather. The modern tombstone inscription could soon become a reality. Lisbhet Merkel‘s “word for thought” deals with the violent, brutal death of children as it happens in Frankfurt and other places. Lisbhet Merkel’s work does not refer to a specific child’s death but is valid for all. “Do you want to pray with the Madonna?” asks Philip Metz with his Madonna torso. Every cathedral visitor was invited to complete it. Like the image of Christ, the image of Mary is an unfinished memory, yet present. Raphael Hafner has placed his “music boxes” in two museum showcases. They show the old dances of death as apparent toys, thus reminding us of the Grim Reaper or the Reaper. Kirsten Helfrich‘s silk mourning dress carries a piece of the artist’s memory of her deceased mother. Kirsten Helfrich has embroidered a text with her own hair, based on her mother’s words. Also made of hair is the brooch Diana by Yuka Oyama. The brooch is a piece of jewelry and is designed here as a hair relic. Nanna Melland calls her artwork in a showcase The Heart. The heart is considered the epitome of human physical and psychological existence. In the Baroque period, it was removed from famous deceased and presented far from the grave. Thus, in Vienna, the heart of Prince Eugene, the noble knight (1663 – 1736), can still be seen today in his Belvedere Palace. In the museum’s basement, Gulcan Turan and Sameh Al Tawil have set up a crypt. They refer to a famous Turkish poet, for whom they have created a memorial site in Germany with this work. A small catalog in the form of mourning cards will be published for the exhibition. The exhibition is supported by the Academy Association, Munich.

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