e.g. - Kunsthaus Graz, "Measuring the World"

e.g. In Light of Metrocubo d’Infinito, 2011

In Measuring the World the Super Egg, a mathematically derived form caught somewhere between a sphere and a cube, finds itself in a contrary and yet duplicitous partnership with a perfectly hermetic artwork, a cube of inward looking mirrors—Michelangelo Pistoletto’s Metrocubo d’Infinito (Infinite Square Meter, 1965/66). By occupying the same exhibition space at the heart of the newly formulated Universalmuseum, Pistoletto’s quintessentially empty box—impenetrable and yet all engulfing—finds an existential playmate in the ton and a half of mirror-finished stainless steel Super Egg. Seemingly the physical antithesis of Pistoletto’s fragile cube, the massive Super Egg, polished as it is to an almost perfect immateriality, proposes itself as the embodiment of all things ad infinitum, a container, as in the traditional formulation of the egg, of everything—an ovo cosmographicum.

Remaining in place following the end of Measuring the World the mirrored Super Egg, one of nine to be sited throughout the Styria, will seemingly turn itself inside-out shifting from an all-encompassing infinite space to a perfectly polished, distorting mirror reflecting its new surroundings amongst the objects and images that will constitute Antje Majewski’s The World of Gimel: How to Make Objects Talk.

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