Party at the funeral,
Epoxy, fiber galass.

It proposes the total deconstruction of the urban approach or the object that surrounds it. I take a scene from the every day life and add another background. I invite the spectator in an act of amnesia to try to forget everything and find a new name to the object they are looking at and also change the original function this object was built for.

The piece consists of placing an epoxy Caterpillar excavator in the gallery space, and laying it down on one of its sides, what makes it look like a dead dinosaur. By introducing this type of machine in a gallery space, I am incorporating elements of everyday life and the public/urban environment into a very private and elitist space. There the object it begins to die. These machines used to dig, make wholes, graves, and wounds on the land. They have a close relationship with a working class. The idea of showing the machine laying down on side instead of exhibiting it upright, on its feet, is to create the death of an object while at the same time give it a new life. It is the death of an object that was taken from the urban environment and was placed in an institution.

Party at the Funeral was inspired by the painting the Funeral by one of my favorite Norwegian artists: Erik Theodor Werenskiold (1855-1938). My piece is a ”readymade, that has been made”. It is respect and disrespect, construction and deconstruction of art history. When the art piece is located within a gallery or museum the concept changes because the possible readings are affected by those places, which impose readings through the power of the institution. These transferred meanings both alter and legitimized the work.