reviews

  • Eulàlia Rovira, Esmorteir l’esmorteït (Deaden the Deadened), 2020, wooden beams, nylon ratchet straps. Installation view.

    Eulàlia Rovira, Esmorteir l’esmorteït (Deaden the Deadened), 2020, wooden beams, nylon ratchet straps. Installation view.

    Eulàlia Rovira

    etHALL

    In his famous 1967 lecture “Des espaces autres” (Of Other Spaces), Michel Foucault stated, “Heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible.” I was reminded of this definition when I read the introductory text to Eulàlia Rovira’s exhibition “Esmorteir l’esmorteït” (Deaden the Deadened), which recounts a story at once macabre and funny. In mid-nineteenth-century London, a dance hall was created in a former chapel with a burial vault beneath the floor. The owners advertised “Dancing on the Dead—Admission Threepence.”

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