Following the statement given by John Giorno as we enter the third stage, Life is a killer can’t be avoided. The last three rooms, acting as memento mori, remind us of the fleeting aspect of existence.
The human skull figure, widely used in the history of art, is fully represented. David Shrigley’s monsters anounce the anamorphic ceiling Re: Tête de Mort by Saâdane Afif, a reference to to Holbein’s The Ambassadors
Unlike the saturation of the sign and of the image showed on the previous stages, this last part strives for the progressive erasing of the shape, for a minimalist form. Thus, each room presents itself as a new threshold, a new way to experience time.
Using injunctive maxims, Rémy Zaugg forces us to say no to blindness so we can perceive our destiny, both as a group and as an individual. Peter Friedl invites us to ‘corrupt the absolute’. These few words become a global summary and the outcome of these artworks engage into the sphere of the Collector.
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