Mall of Anonymous provokes a double dichotomy by using both the undermined conditions of the museum and the mall. Museums are currently the subject of widespread criticism as they are seen as representations of authoritarian mechanisms throughout history or as institutions that enable obscure dependencies with interest groups. While the shopping mall occupied a significant part of public space in the 20th century, this form of architecture is gradually becoming obsolete, leading to the term “dead shopping malls”. In the Schinkel Pavilion, both types of space are interwoven and charged with the narrative of Shayne Oliver’s own biography.
Displacing the conventions of the world of fashion and contemporary art – the canonical catwalk, retail and the white cube – Shayne Oliver takes up these relics to create a new space. When the Schinkel Pavilion becomes a shopping mall, obsolescence is introduced. But the exact opposite is the case. In the museum and retail apocalypse, the Mall of Anonymous creates its own …
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Image above: Shayne Oliver , Mall of Anonymous, Schinkel Pavillon © Chadha Ranch