Exomind (Deep Water), 2017

IIn the garden besides the south entrance of the museum, a beehive grows on the head of the sculpture of a woman. Pierre Huyghe seeks less to build objects with well-defined edges, frozen in marble like a modernist sculpture, than to create systems in which the inanimate and the living, mineral, animal, plant, the symbolic and the real are undifferentiated, in works that are ultimately “self-organizing” and “co-evolving.”

Like an exoplanet located outside the solar system, the “mind” of this sculpture stands outside, “in endless formation […] growing by pollinating other living symbols. It constantly modifies itself in this […] porous […] environment, in infinite variations.” In this context, it is not so much the parts which matter as their entanglement, how their relations get “intensified.” The viewer is also a part of that system, but as the artist once said, he is more interested in “exposing something to someone, rather than someone to something.”

Exhibited version: Collection of Winsing Arts Foundation