Genghis Khan 1963

Editor: So here we have Phillip King's "Genghis Khan" from 1963. It’s made of metal and painted a dark, almost ominous, purple. I’m really struck by the way it dominates the space; it feels powerful, almost aggressive. What do you make of it? Curator: The title immediately draws my attention. Why “Genghis Khan”? Considering the time it was made – the early 60s – we see post-war anxiety and the ongoing Cold War playing out. This sculpture could be read as a monument to power, but a power rendered abstract, even unsettling, by the minimalist forms. Does the geometric shape, and the harshness of the material contribute to any reading related to power structures, or their subversion? Editor: Definitely. It feels like a brutalist reimagining of a historical figure, stripped of any romanticism. But there’s also a playfulness to the cut-out shapes on top. Is there perhaps a comment on the aesthetics of power in that? Curator: Absolutely. The relationship between the imposing, geometric forms and those decorative, almost whimsical, shapes at the top highlights the artifice inherent in the construction of power. Public monuments are designed to project an image, a carefully crafted message, and King seems to be deconstructing that process here. We need to ask ourselves about whose voices this representation included and excluded at the time? Editor: I hadn't considered it that way, but it does bring to light how public perception and reception play a part. Curator: Exactly. It's a stark reminder that artistic representations aren't neutral. King encourages a critical reflection on how history and power intertwine within the realm of visual culture. Editor: This makes me see that sculptures, or other objects of art, can provide multiple different readings through history and their cultural backgrounds, and I learned we should think critically and engage to discover more of such hidden aspects. Thank you for providing your expertise. Curator: My pleasure. It is such dialogue that enriches our understanding.