C103
Review
Stephan Weitzel: George in
Paradise
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Stephan Weitzel: installation shot, George in
Paradise; courtesy the artist
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A harmonious accordance exists between
Stephan Weitzel's installation George in Paradise and
the small but ornate 'Return to Art' space. Vestiges of the
Georgian world, in the form of the permanent architectural
features of the room, are injected with relevance by the objects
Weitzel employs. A delicately crafted tailcoat with three
white eggs for buttons, a waistcoat and a neck scarf, along
with a pair of shoes lie on the floor as if in wait for a
potential wearer. The fabrics are rich and opulent reflecting
the royal blue walls. There is silk and satin, but upon closer
inspection this Georgian apparel appears to be uncomfortable
and restrictive. The coat is lined with sackcloth and has
one continuous sleeve, like a strange but glamorous straight
jacket, while the soles of the shoes are made with solid heavy
brick. Solemnity envelops the arrangement in the context of
the remaining features of the piece; a death mask outside
seen from the window, a plait of white hair, a church plan,
and the repetitive stamp print on wallpaper depicting an empty
bed with varying numbers of the same two figures at either
side of it. Taken individually, each object holds its own
mysteries. In sum, they reflect a contemplative sensibility
with a specific interest in the exploration of historical
trajectories.
Zoe Ellis has worked in the
visual arts in Dublin and New York since 1999.
Stephan Weitzel: George in Paradise,
Goethe Institute, Dublin, November/December 2002
