Müleskind – Second Pass
(1 hr deadline, Kassel, August 2007)
The sides of the interior display a variety of numbers, a selection of linear marks that seem to designate depth or elevation, as if the room were in fact converted from an enormous swimming pool, now drained of all water. The east channel, a slightly depressed section of floor running beneath the main windows, did have a sloping ramp as it approached the sluice gate – the rectangular area in front of the entrance way/exit redolent of an antiseptic dip, where swimmers, or sheep and cattle, passed through before ascending up into the main body of water. Quite how this slanted section of flooring could serve as the introductory canal to a volume it was already within suddenly made everything about the space come unstuck. A mechanic’s pit, a precise cavity from which to gain access to something suspended above – this seemed to make sense. The concrete ground, in certain areas blushed like tinted resins, seemed to have been moulded in relief. The sunken channel held its form since the occupation of space by a substantial object – perhaps something designed for this purpose, cast-iron wedge, or something constructed ad-hoc, the tools and machines of all workers combined in an effort to produce a necessary indentation – an emergency, improvised mark pressed into the poured concrete surface as it quickly set – a signature of objects thrown together to make up a mass. A collective lean. A runway, or a run off – much as it suggests an intake channel, it also seems adequate as a drain, this time for thin surface excesses, sweats and spillages; crusts against magmas, brooks versus oceans. It all depends, then, on the angle of attack, the ratio of withdrawal, whether the eastern depression constituted a wasted entry or exit, a ghostly slippage, which now sucks shadow into its corners, and spiked small bubbles of moss from its clumsy craters.