Home / Funny / Viral / Artist Creates Incredible Replica Of Parthenon Out Of 100 Thousand Banned Books


Argentinian conceptual artist Marta Minujín has simply set up The Parthenon of Books in Kassel, Germany as a part of the Documenta 14 artwork festival. Created from 100,000 banned books, this architectural reproduction of the Parthenon in Athens is a piece in progress, with the general public being requested to keep bringing volumes with them while traveling the exhibition. Working with college students from Kassel University, the artist recognised one hundred seventy books from round the sector that have been at one factor banned or are banned in a few international locations even as circulating freely in others.

The public changed into then requested to donate those texts, which have been wrapped in shielding plastic and hung from the shape. By putting censored fabric on a duplicate of the Parthenon—a shape symbolising democracy—the Argentinian artist asks us to take into account the position of politics in trying to steer thought.

To further this concept, the Parthenon of Books sits on the site where the Nazis burned 2,000 books  as part of what they called "Action Against the Anti-German Spirit." This is a stark reminder that the written word has  been used for censorship time and time again throughout history. This is not the first iteration of the Parthenon of books. Minukhin first realised this work in 1983, when she installed 25,000 books banned by the Argentine military junta in a square in Buenos Aires.

The new incarnation has been under construction since October 2016 and will officially open in June 2017. Visitors can become part of the artwork by checking the list of banned books and bringing texts to be included in the artwork. The artwork will be on display until September.

“In her mass-participation projects, Minujín rediscovers the initial value of a collective treasure; she melts shared capital back down into cultural currency without remainder. She lays down the verticality of public edifices that embody confiscated cultural knowledge and a hidebound heritage,” writes curator Pierre Bal-Blanc. “She dilapidates the fortune these myths represent. By literally tilting these symbols, Minujín not only gives new meaning to these monuments, she offers them a new sensuality.”

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