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Article for the catalogue of the exhibition: 89. Herbstausstellung des Kunstvereins Hannover (2021)...<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n The process of sculpture creation includes complex occurrences of decision-making and realization that often remain unconcluded and that extend into the exhibition space.\r\nFor several years, Gloria Zein has been creating culptural groups from various materials that, in their heterogeneity, appear like active characters. ...<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n GZ: You have extensively researched and written on Foucault, and especially on his seminal publication Discipline and Punish (...). In summary, I would say that he analyses in this book power structures by means of the history of disciplinary action or education within western societies. Having said this, I would like to start with a fundamental question: What is a school?...<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n The terms pecunia and pecus are etymologically linked and a central concern of du vertige de la contingence, a work by artist Gloria Zein for the 2018 biennale at Melle. Pecunia means money and wealth, pecus means sheep and cattle. Thus, the sheep is not any animal. On the contrary, pecus is the base for cattle, the original word for wealth. Therefore, sheep are considered valuable \u2013\u00a0they are currency and sacrificial animal, wool provider, food producer and food....<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n (...) The forms in Gloria Zein\u2019s work are either rather geometric or organically shaped. In any case, there is little trumpery. The work is there, coarse and sometimes disruptive. Yet, as soon as one gets closer to scrutinize what\u2019s going on, the pertinence of interventions as well as the artist\u2019s humorous approach unfold....<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n Gloria Zein\u2019s ceramics stage a trace of violence. They tie in with artistic traditions that go far back to hominisation, as they manifest an archaic creative urge that originates in an incomprehensible abyss on the borderline of the sacred. ...<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n Transformation or: Hands and Brains...<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n Allegedly, Siam kings offered white elephants to adversaries, who they wanted to financially (and politically) destroy. Unable to refuse the sovereign\u2019s giant gift, they had to provide for the animal while slowly falling into ruin.\r\nWhat a deliciously elegant, sleeky and despicable gesture. Spitefulness and torture are maximised to become a polonium version of the refined French \u201ccadeau empoisonn\u00e9\u201d (the \u201cpoisoned gift\u201d).\r\nIt seems we are surrounding ourselves with white elephants....<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n GZ: I\u2019ve been exploring a participatory approach to art making for quite a while. For the Goethe-Institut project I interviewed every employee, from the receptionist, the librarian and cleaning staff to the German teachers, the cultural department workers and the director to understand the structure of the Institute before designing and dedicating a small sculpture for each function.\r\nThis Goethe-Institut commission came at a perfect time, as it allowed me to closely weave these interests with my sculptural practice: ...<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n GZ: A sculpture is a body. It\u2019s nothing that exists for itself. It always establishes a relationship to the surrounding space. My project for the Goethe-Institut deals with this specific place, which is neither a gallery nor a white cube. I\u2019ve worked with the facts of the building and what happens in here. ...<\/p>\n \n\n \n \n \n\n <\/span>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/li>\n \n \n \n \n <\/a>\n <\/div>\n
\n \n \n 2020 \u2013 Materialize me! \u2013 Sequential processes in sculpture \u2013 Sarah Maske<\/a><\/h3>\n
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\n \n \n 2019 \u2013 Reflections on art in a fragmented society of control \u2013 Gloria Zein in conversation with Roberto Nigro<\/a><\/h3>\n
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\n \n \n 2018 \u2013 The mysterious settlement of sheep at Melle \u2013 Hajo Eickhoff<\/a><\/h3>\n
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\n \n \n 2018 \u2013 Bestiaire en campagne. Campaign of a rural bestiary \u2013 Chlo\u00e9 Hipeau-Disko<\/a><\/h3>\n
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\n \n \n 2016 \u2013 Stop! \u2013 Anna Grande<\/a><\/h3>\n
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\n \n \n 2016 \u2013 Everything is needed \u2013 some notes and associations on the work of Gloria Zein \u2013 Noor Mertens<\/a><\/h3>\n
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\n \n \n 2014 \u2013 Specific degrees of whiteness in a poisenous elephant \u2013 Gloria Zein<\/a><\/h3>\n
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\n \n \n 2012 \u2013 Letter From London – An interview with Gloria Zein, on dancing chickens and German art \u2013 Matthew Rose<\/a><\/h3>\n
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\n \n \n 2012 \u2013 Artist Talk: Goethe-Institut London, Gloria Zein im Gespr\u00e4ch mit Stephanie Rosenthal<\/a><\/h3>\n
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