work
Cream Hand Mixer # 1
| category | Sculpture |
| subject | Political / Social |
| tags | children's rights, video sculpture, video wall, Full HD monitors, slide, conveyor belt, reversal, contrasts, rusty, rusted iron, contaminazioni |
| base | 250 cm |
| height | 150 cm |
| depth | 250 cm |
| year | 2017 |
Video Sculpture, site-specific, edition 1/1, Cor-Ten steel, painted iron, 3 Full HD monitors, video wall, Bose speakers, and audio
The work 'Cream Hand Mixer #1', taken from the 'Kindergarten' cycle of works that tackles the topic of the violation and degradation of children's rights, is dedicated to the topic of children used by adults as tools of labour. The installation has the appearance of a slide, but at the same time looks like a conveyor belt, in a reversal of the scenario that destroys the magic of the game, bringing the tragedy of the exploitation out into the open. The video contained within the sculpture reproduces images of a little girl, embedded in the object and obliged to carry wood, thereby distorting the playful function of the slide, while the voices of children chanting the words of an old nursery rhyme in the background drag the spectator without warning into a broken fairy-tale dimension, revealing how the natural meaning of play and childhood itself has been turned upside-down.
The work 'Cream Hand Mixer #1', taken from the 'Kindergarten' cycle of works that tackles the topic of the violation and degradation of children's rights, is dedicated to the topic of children used by adults as tools of labour. The installation has the appearance of a slide, but at the same time looks like a conveyor belt, in a reversal of the scenario that destroys the magic of the game, bringing the tragedy of the exploitation out into the open. The video contained within the sculpture reproduces images of a little girl, embedded in the object and obliged to carry wood, thereby distorting the playful function of the slide, while the voices of children chanting the words of an old nursery rhyme in the background drag the spectator without warning into a broken fairy-tale dimension, revealing how the natural meaning of play and childhood itself has been turned upside-down.
