Fabien Giraud and Raphaël Siboni: The Everted Capital

4 November 2018–4 February 2019

Exhibition Overview


Fabien Giraud and Raphaël Siboni, The Everted Capital, The Unmanned, 2018.

An archaeology of our future devastation, told before it happens. Part Two of Fabien Giraud and Raphaël Siboni’s epic project at Mona.

The second part of the project is called The Everted Capital, a history of capital in reverse. It has at its heart a twenty-four-hour performance, which was filmed at Mona. It takes place in the year 7231 and introduces us to a community of immortals living on a ‘Dyson sphere’—a mega structure that harnesses the power of the sun as it approaches extinction. More catastrophe faces these immortal beings: the return of death and capital, throwbacks to our past human evolution. As the performance unfolds, a character dies every hour and the story reboots and repeats. Until, in the end, only a newborn baby remains, left to play in the empty museum for eternity. The story is inspired by ‘New Australia’, a failed communist utopia founded in Paraguay in the nineteenth century, and the Lydian Empire, which is said to have invented modern currency and coinage in around 700 BCE.

Alongside the film of this gruelling performance, you can see a series of sculptures—crafted from rope and salt, resin and clay, fungus and strips of vinyl, plastic and sandstone. The sculptures are based on mask objects from Mona’s collection, alongside a statue of the Egyptian god Horus from the Louvre, which has been moulded, turned inside out, and recast in bronze, and is being transformed here by the slow creep of salt crystals. These will be exhibited with sculptures based on works from the collection of Augustus Pitt Rivers, British archaeologist and founder of the Pitt Rivers Museum at Oxford, who believed that evolutionary logic could be applied to man-made artefacts. These sculptures were made using purpose-built AI technology that predicted the past life of blades. This strange landscape of objects seems to grow from the colossal plinth running the length of the gallery and slicing through a sandstone boulder.

(Photo by Mona/Jesse Hunniford, courtesy of the artist and Mona (Museum of Old and New Art), Hobart, Tasmania, Australia.)

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