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In the framework of the biennial program dedicated to the theme of the removed in contemporary society, the project imagined by Namsal Siedlecki starts from the rituality of India’s most representative Hindu festival, Dur-gā Pūjā. The festival lasts six days: every year, thousands of devotional idols are built and finally immersed in the rivers. The process leading to the creation of a fetish depicting the goddess Durgā, with her characteristic ten arms, always starts with a stuffed soul, which Namsal uses to make the base of a new sculpture, a new idol. In the centre of the nave, this figure stands on a terracotta pedestal. The barely sketched existence of the soul in straw, still without feet, hands and head, is fixed in the permanence of the bronze, a solid, shiny body with the appearance of armour on the one hand Siedlecki subtracts a moment of festive rituality, taking away the fetish, on the other hand he reintroduces new forms of processuality through his own vocabulary. Once a…
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In the framework of the biennial program dedicated to the theme of the removed in contemporary society, the project imagined by Namsal Siedlecki starts from the rituality of India’s most representative Hindu festival, Dur-gā Pūjā. The festival lasts six days: every year, thousands of devotional idols are built and finally immersed in the rivers. The process leading to the creation of a fetish depicting the goddess Durgā, with her characteristic ten arms, always starts with a stuffed soul, which Namsal uses to make the base of a new sculpture, a new idol. In the centre of the nave, this figure stands on a terracotta pedestal. The barely sketched existence of the soul in straw, still without feet, hands and head, is fixed in the permanence of the bronze, a solid, shiny body with the appearance of armour on the one hand Siedlecki subtracts a moment of festive rituality, taking away the fetish, on the other hand he reintroduces new forms of processuality through his own vocabulary. Once a…
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