cosmos museum

“Why is she drawing?” oil and acrylic on 4 canvas. 100/100 cm each.



“Lane number one” Detail from a 1/10 meter paper roll

“(De)Construction of History”

´´Any architectural deconstructivism requires the existence of a particular archetypal construction, a strongly-established conventional expectation to play flexibly against.´´

Derrida, Jacques (1976). Of Grammatology

Sketching the machines in a technical museum  is not only  trying to understand how they are working and in which purpose we made them for. Sketching them is not only representing objects in two dimensions; that´s first of all isolating those parts of history and taking them out  of their context turning them somehow into absurdity as pure mechanism. Dismantling them and transforming them meanwhile being connected with my unconscious is defying the established codes. Accumulating machines, combining mechanics, is a way to re-interrogate the laws of physics. It is re-appropriating myself the empirical mechanisms and concretized ideas which made our history in order to look beyond physics and immediate need.

Once I have the feeling I assimilated enough stories from our history in the museum, I go back in atelier and translate some parts of the mechanisms, zooming on what is becoming “a piece” and drawing it again at a larger scale.  The transformation starts after the decomposition in fragments, when I do combine the pieces together. Those tools are helping to complete the prototypes produced by my inner machinery. That´s “Bricolage” as the ethnologist Claude Lévi-Strauss understood it (“La pensée sauvage”) Bricolage meanwhile drawing and painting. The support is a roll of paper I am unfolding while progressing. But the support is also a canva on which the mechanics are turned into abstract paintings. I am starting a serie of “zooms”painted on my favorite glass (structured white glass). Turning it over and watching through is creating a new interface reminding our contemporary  mechanical quick glance. In any case I am destructing the image of the original machines given as art pieces – entitys when exhibited in a museum and I am constructing a new mural of abstract pieces from the western history.

A new abstract story.

The Deutsche Museum is the world biggest technical museum and people are going there thanks to the machines they developed. Because we are working less we do have time to spend for leisure, culture and somehow to admire oneself… Sketching those machines, I am bringing them back to the atelier (creative side) and I am recycling them as well as annihilating their function. Useless and sometimes absurd, I am driving them direction art field because those machines are present in our everyday lives as help but mainly as a control. In a technophile society I do believe that the participation, the role and the caution of the artist as reserve is really important. The human being, body and soul, is remaining the most sophisticated machine and we should let no system (internal or external) subjugating him. There are still some humans behind the machines… humans who knows how to use them for the purpose of control. I am breaking free from control at least meanwhile I am drawing them and I am proposing in the same time a multiple reading of our western history as well as a glance through our internal human database.

“Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world. (Albert Einstein)


Selection of sketches realized in Deutsches Museum since october 2019.

Ink on silk with indigo dye

100/100 cm. Wild silk, indigo dyeing paint. 2019


English (deutsche version unten)

I already began intensely dealing with various materials as a student. I worked with glass, clay, various natural materials and textiles and explored their materiality, functionality, aesthetic, and meaning in terms of cultural history. Against this backdrop, my current interest is directed towards processes of resignification and at the recycling or alternative use of materials, the role of technical objects and art objects between production, use, and presentation. In the processes of manufacturing, use, and museum presentation, between the studio and the site of exhibition, materials and objects are subject to a transformation, a reinterpretation that is accompanied by cultural codes, stagings, and gains or losses in terms of prestige and value. Traces of a “prior life” appear or are rendered invisible. With this in mind, I am particularly interested in museums of technology, the ever new relationship between man and machine, and in the “machinery” of the museum as an institution. For some time now, I have been capturing forms, functions, and interactions in sketches and drawings of everyday museum life. This results in a multilayered mosaic where traits of the large narrative of Western cultural history, knowledge production and social affirmation and exercises of domination appear. At the same time, there are moments of personal encounter, of empathy and recognition, moments of appropriation and subversive reinterpretation.

Based on my sketchbooks and my observations, I would like to explore the universe of the museum, experimenting across the media. In the process, I am interested in both a documenting perspective and new production. My observation and interpretations become a point of departure for my own process of creation and their re-inscription in various materials. Drawings, photography, and moving images from my museum field research will find their way into the treatment of glass, sound, and textiles. The (reverse) transformation will continue, from the museum back to the studio, to the workshop and the site of manufacturing. In these processes of re-introduction, I use my own artistic techniques of production but also technological processes like industrial glass production (together with a German Glasstudio) Presentations of the works that are created in this way are also trans-media, spatially expansive, installational, and performative.

Garance Arcadias, November 2019

„Cosmos Museum“


“Bereits während meines Studiums habe ich begonnen, mich intensiv mit Materialien auseinander zu setzen. Ich habe mit Glas, Ton, verschiedenen Naturmaterialien und Textilien gearbeitet und mich mit ihrer Materialität, ihrer Funktionalität, ihrer Ästhetik und ihrer kulturgeschichtlichen Bedeutung befasst. Vor diesem Hintergrund lenkt sich mein Interesse derzeit auf Umdeutungsprozesse und Um- oder Neunutzungen von Materialien, technischen Objekten und Kunstobjekten zwischen Produktion, Nutzung und Präsentation. Zwischen Herstellung, Gebrauch und musealer Präsentation, zwischen Atelier und Ausstellungsort unterliegen die Materialien und Objekte einer Verwandlung – eine Neu- und Reinterpretation, die von kulturellen Codes, Inszenierungen Prestige- und Wertgewinn oder -verlust begleitet ist. Spuren ihres „Vorlebens“ scheinen auf oder werden unsichtbar. Vor diesem Hintergrund interessiere ich bin besonders für technische Museen, die immer wieder neu entstehende Beziehung zwischen Mensch und Maschine und für die „Maschinerie“ der Institution Museum. Formen, Farben, Funktionen und Interaktionen fange ich seit geraumer Zeit in Skizzen und Zeichnungen im musealen Alltag ein. So entsteht ein vielschichtigen Mosaik, in dem Züge des großen Narrativs westlicher Kulturgeschichte, Wissensproduktion und gesellschaftlicher Selbsvergewisserung und Herrschaftsausübung aufscheinen. Gleichzeitig gibt es Momente der persönlichen Begegnung, der Empathie und Erkenntnis, Momente der Aneignung und subversiven Neu-Interpretation.

Ausgehend von meinen Skizzenbüchern und meinen Beobachtungen möchte ich mich transmedial experimentierend mit dem Kosmos Museum befassen. Hierbei geht es mir sowohl um eine dokumentierende Perspektive, als auch um Neu-Produktion. Meine Beobachtung und Interpretationen werden zum Ausgangspunk für eigene Schaffensprozesse und die Re-Inskription in unterschiedliche Materialen. Zeichnungen, Foto und Bewegtbild aus meinen musealen Feldforschungen finden Eingang in die Bearbeitung von Glas, Ton und Textil. Die (Rück-)Verwandlung geht weiter – vom Museum zurück ins Atelier, in die Werkstatt und Manufaktur. In diesen Rückführungsprozessen bediene ich mich sowohl eigenen künstlerischen Produktionstechniken, als auch technischer Verfahren, wie beispielsweise der industriellen Glasproduktion (z.B. in den Glasstudios, mit denen ich seit 2018 zusammenarbeite). Präsentationen der so entstehenden Werke sind ebenfalls transmedial, raumgreifend, installativ und performativ.

Garance Arcadias, November 2019