Ali Cherri's 'How I Am Monument': An Exhibition Exploring Colonialism and Cultural Value at Secession

This exhibition by Ali Cherri delves into the complexities of violence, history, and cultural value, examining how narratives are shaped by colonialism and geopolitics. Through films, sculptures, installations, and drawings, Cherri reflects on the fragmentation of bodies and artifacts, forging solidarity with brokenness and challenging Western museum practices.

Ali Cherri, born in Beirut in 1976, presents "How I Am Monument," an exhibition that interrogates the construction of historical and cultural value, highlighting the pervasive influence of colonialism, nationalism, and geopolitics. Cherri's work, spanning films, sculptures, installations, and drawings, addresses the violence inscribed in landscapes and the knowledge systems of the West. The exhibition features "Tree of Life" (2024), Cherri's first bronze sculpture, inspired by Mesopotamian reliefs and symbolizing hope and creation. The artist draws a parallel between broken objects found in auction houses and antiquities markets and the inner fractures experienced by individuals, emphasizing the potential for solidarity and empathy through shared experiences. By embedding these fragments into hybrid, surreal sculptures, Cherri confronts Western collections with forgotten or suppressed narratives, questioning the foundational practices of museums and their role in shaping dominant canons through colonial collecting policies. Cherri's exploration of political implications extends to his choice of materials, particularly clay and bronze. Clay, the primal material of civilization, is contrasted with bronze, typically used for "heroic monuments" by ruling classes. By juxtaposing these materials, Cherri subverts traditional power dynamics, suggesting a reclaiming of power through the 'moisture' from fragile clay attacking the 'hegemonic' bronze. The exhibition also incorporates museological vocabulary, with displays of vitrines and pedestals holding miniature replicas of damaged monuments from various global protest movements, symbolizing the disempowerment of brutal regimes and the possibility of imagining better futures. A new slide projection, "A Monument to Subtle Rot" (2024), features poetic reflections by Karim Kattan on monuments, interspersed with images of their deconstruction. The exhibition culminates with Cherri's acclaimed three-channel video installation, "Of Men and Gods and Mud" (2022), which examines destruction and creation through the lens of brick-making and the construction of the Merowe Dam, questioning how a new world can emerge from the mud of the past.

Information regarding tickets can be found at the provided link. Admission details are managed through the official ticketing platform, and visitors are directed there for booking and further information. The Secession is open Tuesday to Sunday, 10 AM to 6 PM, with specific details potentially available via the ticketing link or general information pages on the website. It is unclear if this exhibition requires a separate ticket or is included with general museum admission without further information from the page itself on this specific point. The general ticket link is: https://shop.eventjet.at/secession.