1.The Temtation 1937, installation, Haus Wittgenstein, 2012

The temtation 1937, installation, Haus Wittgestein, Vienna 2012




The temtation 1937, installation, Haus Wittgestein, Vienna 2012

The temtation 1937, installation, Haus Wittgestein, Vienna 2012




The Temtation 1937, installation, Haus Wittgenstein, 2012

The temtation 1937, installation, Haus Wittgestein, Vienna 2012




The temtation 1937, installation, Haus Wittgestein, Vienna 2012

The temtation 1937, installation, Haus Wittgestein, Vienna 2012




THE TEMPTATION 1937
Installation, The keyhole of mr. Wittgenstein, Haus Wittgenstein, Vienna 2012


Michailovs “Temptation 1937” expresses it self in 3 different premises in which he approaches Wittgenstein at a philosophical, artistic and humane level. First he is doing this with a citation by Wittgenstein:
The difference between an accomplished and an incapable architect is that the later succumbs while the talented resists to the temptation” (1930) As if Wittgenstein would have guessed that one day the building planned by him would receive an oversized neighbour…
Michailov places a citation engraved in wooden plates between the two buildings to leave it to the spectator to judge how the citation could be interpreted from a present day perspective.
Simple and functional forms, typical for the period of Modernism, have been the basis for Wittgenstein to build the house with optimal proportions. Michailov refers to that feature by transferring the same proportions to a pedestal. He exhibits the socle without a statue with the measurements 60x80x100 on which he displays his own citation however deduced from Wittgensteins words:
The difference between an accomplished and an untalented artist is that the later succumbs while the skilful resists to the temptation.” (2012)
The artist declares the pedestal to be the piece of art and spares the sculpture.
When studying Wittgensteins private life one understands that he must have been plagued by doubts with regard to temptations on acting out his intimate feelings and sexuality.
His own personal weaknesses and taboos are for Michailov a fascinating subject to deal with in order to crack them. Michailov exhibits a picture to intentionally qualify his earlier citations - contra the self-imposed diminuition.
With a picture standing on the floor the wrong side up against the wall Michailov intends to seduce the spectator and Wittgenstein likewise…