The exhibit is the work of Russian artists Ilya and Emilia Kabakov and was unveiled in October 2009: it consists of a two-storey house comprising a number of rooms, each of which has been designed and filled with scenery and accessories to look like it is inhabited by an imaginary character. Visitors can tour the exterior of the house, peek in through the windows (including the upstairs room which can be reached via an outdoor staircase), and take in the various still-life scenes, with poetically-worded panels about the associated characters there to provide additional context and pointers.
|This is la Maison aux personnages, although at first glance there is nothing to suggest the house is a permanent artistic installation. Pellegrin hospital can be seen to the left.|
All of which leads us on to one of the most surprising aspects of the installation: remarkably, the 148-square-metre air-conditioned house and its garden were purpose-built to become this artistic exhibit. Working to the designs drawn up by Ilya and Emilia Kabakov themselves (some of the original sketches can be viewed here) and inspired by the characteristics of Bordeaux’s échoppes and townhouses, the building was conceived by the architects Samira Aït-Mehdi and Sylvain Latizeau, and delivered by the contractors DV Construction.
Given the expense involved (somewhere in the region of 500 to 600,000 euros), the project has proved controversial. The politician Emmanuelle Ajon, a Bordeaux city councillor and Gironde department vice-president, condemned the venture by writing that it was “indecent to let homeless people look in on what it is like to have a roof, and to spend 560,000 euros on a house which will only ever be exhibited and never occupied”.
Which, appropriately enough, is where Invisible Bordeaux steps in: I braved the elements to plot my way through the traffic across to the house, in order to report back on what there is to see through the windows. So here goes: I think the most interesting rooms to view were those entitled “En barque sous les voiles” (which includes a pretty wooden sailboat), “La soif d’inventions” (which appears to be a mad professor’s workshop, complete with illuminated fairy lights and a lot of work in progress) and “Ne jamais rien jeter” (with its collection of collections, i.e. hundreds of labelled items, along with a number of suspended objects and little cards with open questions to the viewer written on them). Of the others, “Le paradis sous le plafond”, in the upstairs room, featured little more than an armchair and a ladder to nowhere – it felt a bit overly minimalist and underwhelming. Most of the remaining rooms were more conventional living and sleeping quarters, and looking inside did feel a little voyeuristic, if you can picture a voyeur also standing there scratching his head about the meaning of it all.
|Four of the rooms: "En barque sous les voiles", "La soif d'inventions", "Ne jamais rien jeter" and "Le paradis sous le plafond".|
picture source: artnet.com
The couple have worked together ever since and have earned distinctions including France’s Chevalier des Arts et des Lettres in 1995 and Austria’s Oskar Kokoschka Preis in 2002. Their work, which “fuses elements of the everyday with those of the conceptual” (according to artnet.com), has been exhibited in venues including New York’s Museum of Modern Art, the Stedelijk Museum in Amsterdam and the State Hermitage Museum in St Petersburg. The Bordeaux installation is just one of many public commissions delivered throughout Europe and elsewhere.
> Ce dossier est également disponible en français !