The back of a cabinet of curiosities
© Jürgen Karpinski, Seemann Verlag

The Back Of The Treasure

On the Epistemology of the Cabinet of Curiosities

Nowadays, the cabinet of curiosities has become outdated and is no longer adequate for addressing the diversity and interconnectedness of contemporary art. It represented a quasi-cognitive state of the era, in which various objects were continuously accumulated from their initially chaotic state and organized into typologies.

In exploring these questions, the intriguing piece titled Throne of the Grand Mogul (the Treasure) by Johann Melchior Dinglinger from the Grünes Gewölbe in Dresden is especially notable. Founded by Augustus the strong of Poland and Saxony in 1723, this legendary collection is renowned for its unparalleled wealth of treasures.

Under the influence of its patronage ruler, this extraordinary piece displays an opulent installation on the front, while its backside features an imaginary Orientalist scene executed in a coarse technique, its unintentional eloquence demonstrates how the painter explored the virtual and the real.

During the 18th century, a huge power driven by encyclopédisme technique (Gilbert Simondon) began to take over the world. This marked a shifting point from the traditional system of knowledge once held exclusively by groups such as craftsmen to more explosion of accessible knowledge, dispelling its mystery. In this context, the cabinet of curiosities’ strong emphasis on materiality evokes a non-material dimension. Chaos, emptiness and darkness, as cosmology notion resonate with the sloppy yet open treatment of the backside of the Treasure.

The group exhibition utilizes the distinctive architectural characteristics of the Galerie im Körnerpark, a spatial parcours referencing infinite mirror reflection is created to provide possibilities for epistemological interactions. The 3D scanned model of the Treasure, presented in the exhibition’s entrance becomes a reincarnation of the original artifact. With a digital avatar of Dinglinger himself situated in this virtual space, the historical materiality is transformed into a neutral model, similar to those commonly used in gaming, in order to open new conversations with future artists from the backside of the Treasure, unfolding in our time.

With the support of the Bolstra Foundation.

Curatorial assistance: Ce JIAN

Curated by Jiaxing CHAO

Participating artists

Gallery space with round arches. Works of art in the form of columnar sculptures. Further objects presented in showcases and on tables Three women standing in front of the introductory text on the wall. The gallery director stands next to the curator and speaks into the microphone Artist stands before the introductory text in the exhibition space and gives a short lecture Monitor on the wall with video work. On the right edge of the picture a standing installation with a mask Standing installation with mask, tablet with video work on the wall, exhibition visitors in between Artworks in the form of ceramic columns in the foreground and a paper cut in the background on the wall, with a person standing between them Tablet framed in a plate leaning against the wall and objects such as records and notebooks in a glass display case. Dahinter Rundbogenfenster mit Tapete beklebt Two people examine the 3D print installation entitled “The Recursive Jeweler of Polygon Gems” by artist Esteban Azuela. The 3D print is based on the work “The Throne of the Grand Mogul” by Johann Melchior Dinglinger Exhibition visitors in the gallery space Exhibition visitors in front of and next to a world map redesigned by the artist. In front of it a display case with art objects Gallery space filled with visitors at the exhibition opening Artworks in the form of glass columns on the floor