None of that really bothers me, but I said almost immediately, I can’t do this if it will be focused on the artifacts, but I can do it if we’re thinking a lot more about the place. LG: I think the invitation came because it was already evident that I’m capable of surviving one or two years’ work with a German institution and their strange rules, self-imposed restrictions, and cultural obligations. The archeologist Shiyanthi Thavapalan has written a number of papers that question dominant ideas about language and color in Mesopotamia, and I had already read these because of my involvement in the 2022 show “Color Is Program” at the Bundeskunsthalle in Bonn, which was also another example of trying to work with people within an institution. The invitation also related to a lot of new research on the original coloring of the artifacts, and that they were looking for someone who could think about color. But then I was told that it might stay open after all. Liam Gillick: The invitation included secret information that the building would close after the project, at the end of 2023. Jörg Heiser: Can you talk about the invitation you received to intervene in the permanent collection of the Museum of the Ancient Near East?
The conversation has been edited for length and clarity.
And then you clean me and then you say easy how to#
Gillick agreed to realize his project amidst difficult debates about how to deal with these buildings and the fraught colonial histories they house. The latter includes the Babylonian Ishtar Gate, another monumental reconstruction based on excavations made by German archeologists in the period of the German Reich’s alliance with the Ottoman Empire from the 1880s to World War I. It houses the so-called Collection of Classical Antiquities, including the monumental Pergamon Altar, as well as the Museum for Islamic Art and the Museum of the Ancient Near East. The Pergamon is a neoclassical building that first opened in 1930. In March it was announced that the entire building would not only have to close for four years to await the delayed reopening of the classical winig, but that the completion of the overall renovation wouldn’t be finished until 2037, at a cost that might run up to €1.2 billion. Using light, color, shape, projection, sound, and almost no text, his intervention comes at a time when the Pergamon Museum, in which this collection is housed, is projected to close at the end of 2023. Liam Gillick’s intervention in the permanent collection of Berlin’s Museum of the Ancient Near East, titled Filtered Time, opened to the public in April 2023.
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