Until the Evening of the Echo
Emilie Ding (1981, Fribourg) makes work that falls somewhere between drawing and sculpture and shows the artist’s attraction to massive structures and systematic organization. Crosses, patterns, and buttresses are some of her favorite forms. In an imposing minimalist language, the artist expresses a particular vision of the avant-garde, a way of stirring up its ashes. The five works she created for MAMCO were conceived in direct relation to the exhibition space. Her 2.5-meter-high concrete slabs were set off directly against the height of the two rooms they were in, and the green paint was a “leftover” from the previous exhibition. The relationship to the museum space could also be seen in the motifs on the slabs. The artist, who knows the place well, drew inspiration for the designs from previous museum pieces that had left an impression on her, pieces from artists such as Sherrie Levine, Jenny Holzer, and Marcel Duchamp. The reliefs on the slabs are throwbacks to the architectural elements of the building housing the school of fine arts in nearby Annecy, designed in 1964 by André Wogenscky, a close associate of Le Corbusier. These sporadic memories of the school and museum were placed directly on the floor like so many funerary or votive stelae. The black oil used for the motifs gave them the shiny iridescence of a scorch mark; the memory of modernity sizzling on the concrete surfaces.