contingency of the body--often his own--within the wider sphere of social and political contexts. he has often
submitted his body to extreme states, either physically or psychologically. in one earlier performance work,
althamer sealed himself inside a body-sized plastic bag that slowly filled with cold water ('water, space, time',
1991), and in another, with the help of hypnosis and hallucinogenic drugs, he explored the inner landscape of his mind ('the so called waves and other phenomena of the mind', 2003-2004).
his sculptures engage with the body less directly, often through the logic of substitution. his human-scale
sculptures, representing himself or members of his family, are constructed from hair, straw, intestine,
and cloth-visceral, rough-hewn materials that seem poised on the threshold between embodiment and decay.
for this year's gwanju art biennale, althamer has created a new version of auguste rodin's the burghers of calais,
entitled 'brodno people' made with the help of people from a working class neighborhood of warsaw.
rodin's sculpture tells the story of six leading citizens of the town of calais, france, who, in 1347, volunteered
themselves as hostages to king edward III of england in exchange for lifting an eleven-month siege on their
city during the hundred years war. althamer's version emphasizes the social and political circumstances of
the work's production by foregrounding collective practice over individual authorship.
like totems or idols from a personal religion, his figures appear almost as placeholders for the artist's body
and those of his loved ones, as if their presence might somehow ward off the inevitable decay of the flesh."
<http://www.designboom.com/weblog/cat/10/view/11459/pawel-althamer-at-gwangju-art-biennale-2010.html>
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