Geslacht varken by Jan Borduur

Geslacht varken 1747

0:00
0:00

Dimensions: length 5.3 cm, width 2.7 cm, height 6.8 cm, weight 34.52 gr

Copyright: Rijks Museum: Open Domain

Editor: This compelling sculpture, "Geslacht varken," or "Butchered Pig," created in 1747 by Jan Borduur, is made of silver. The subject matter is pretty visceral, and its shimmering materiality somehow intensifies the disturbing yet refined quality of this piece. What's your take on it? Curator: For me, the sculpture immediately speaks to the complicated relationship between luxury and the realities of labor. Silver, traditionally a symbol of wealth, is here meticulously crafted into an image of raw, exposed flesh. What does this elevation of the abattoir process into fine art say about 18th-century Dutch society’s consumption habits? Editor: That's an interesting point. The pig hanging on display is unsettling, yet also skillfully rendered. Is there a message being conveyed through the contrast? Curator: Exactly! Consider the social context: who were the patrons of such art? Were they disconnected from the brutal realities of meat production? This piece perhaps subtly critiques the growing distance between the consumer and the source, masking labor through a veneer of elegance. Furthermore, the theme of 'vanitas', or the transience of life, also takes on a certain irony here with the value the material and the scene portray. Editor: So it's not just about death, but also about how society values certain objects and labor? I hadn't thought about the disconnect between the material and the subject matter in that way. Curator: Precisely. The artistic labour involved transforms base material into a luxury commodity; its theme also being the transformation of animal into commodity. What this implies about our perception of work and material in itself is compelling. It reveals the mechanisms in play with something as ubiquitous as silver. Editor: Seeing it that way adds another layer of complexity. Thanks for pointing that out! It's made me rethink how I approach the material presence and intention in this sculpture. Curator: Indeed. By studying it materially, and socially we are equipped to have new insights, especially considering the history we now possess.

Show more

Comments

No comments

Be the first to comment and join the conversation on the ultimate creative platform.