Lost Highway
3900,00
€
The work arises in the first instance as a reinterpretation of the myth of Sisyphus and Albert Camus' analysis of it. In Camus' words:
“The gods had condemned Sisyphus to endlessly climb a rock to the top of a mountain from where the stone would fall back down under its own weight. They had thought with some foundation that there is no punishment more terrible than useless and hopeless toil.”
As if trapped in an endless cycle, the stone tries to climb an eternal staircase. It moves, but fails to advance, the movement becomes constant and reiterative. The stone is trapped in a cyclical time, performing the same action over and over again. But, at the same time, it dialogues with the logic of the linear time of materials and wear. The materials continually act on each other; the stone wears at the same time as it erodes the wooden steps; the motor and the gears turn, also subjecting themselves to pressure and wear; the thread tightens. Sooner or later one of them will give way, showing us that repetition always leads to change.
The work explores the idea of meaninglessness, the useless machine, the aimless action linked to the absurd. As Mark Fisher mentions in the idea of the slow cancellation of the future, in a monotonous world, with no possibility of change in sight, the future is cancelled for us at the same time that the past appears more and more distant and distant. The eternal present is normalized, almost without our realizing it.
“The gods had condemned Sisyphus to endlessly climb a rock to the top of a mountain from where the stone would fall back down under its own weight. They had thought with some foundation that there is no punishment more terrible than useless and hopeless toil.”
As if trapped in an endless cycle, the stone tries to climb an eternal staircase. It moves, but fails to advance, the movement becomes constant and reiterative. The stone is trapped in a cyclical time, performing the same action over and over again. But, at the same time, it dialogues with the logic of the linear time of materials and wear. The materials continually act on each other; the stone wears at the same time as it erodes the wooden steps; the motor and the gears turn, also subjecting themselves to pressure and wear; the thread tightens. Sooner or later one of them will give way, showing us that repetition always leads to change.
The work explores the idea of meaninglessness, the useless machine, the aimless action linked to the absurd. As Mark Fisher mentions in the idea of the slow cancellation of the future, in a monotonous world, with no possibility of change in sight, the future is cancelled for us at the same time that the past appears more and more distant and distant. The eternal present is normalized, almost without our realizing it.
lwh: 360x450x310 mm
Weight: 5000 g
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