Following the visit to the Saatchi Gallery, the exhibition "Dead, a celebration of mortality" and the known photograph of the stranded boy Aylan
The Saatchi Gallery in London is a sleek building with Romanesque arched windows on the ground floor, and a white facade of a tympanum on eight major pillars. It used to be a barracks. On the upper floor is the ‘Dead, a Celebration of Mortality’ exhibition. A boy leapfrogs over a tombstone on the black poster. It is run by Charles Saatchi. When you walk into the gallery you immediately stand still. There are dead people. Arranged in many different ways. In a fetal position and another into sections. The parts; hands, leg and arm sections, head, chest and abdomen are dark clay, and above every part is a metal rod, with a floating copy of the bodypart. You see what the idea is; here a spirit transcends the body which has died. It gets more gruesome. A pair of legs, so realistic that you can see the hairs, belong to someone lying disfigured under a pile of books. The books are also made of plastic. There is a corpse swathed with a pack of cigarettes and a white plastic shape with a cross cut out. In the corner it seems that a massacre has occurred and the dead, whether bleeding or not, are lying uncomfortably in a pile together with rubbish bags. If this was not in a museum but somewhere on the street, it would be shocking. You stand there wondering how brutally people deal with their fellow men. It is compelling and thought-provoking. We arrive at an empty gallery. There is a black horizontal line through the middle of the space at the level of our balcony. Under that line everything is a shade darker. Then we see it; the space is only half as high as it looks. We are not on a balcony. You cannot see the floor because there is a layer of black oil. This reflects. The surface is still. There is also be a woman asking where the work of Richard Wilson (1953) is. On the wall hangs the sign. This is the work of Richard Wilson. We explain to her what she sees. Or rather, what she does not see. Fantastic job. A few days later we find another work of Richard Wilson. It's called ‘A slice of reality.’ It is a piece of a large ship. A thin, five meter slice of metal boat. You can see everything here while sitting. A sawn-through staircase, railing, engine room, half bridge and piping installation. A slice of reality is an open boat. I can see the boat refugees who are currently so much in the news. The Syrian toddler Aylan Kurdi washed up on the beach, the photo that shook the world. That is the reality. I have to show how we, Europe, let the sun go down on him.
Photo 2:Dead a celebration of Mortality, Saatchi Gallery London
Photo 3: Richard Wilson A slice of reality 2000 Thames, Greenwich Peninsula