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Special Project

Rhea Dillon

in partnership with The Kitchen

Janus *pause* leaking fortified enclaves

Sapele Mahogany and fluids

The Door of the Woman is the glass slipper
(Atlas, in transit laid to rest)

Wood, plastic string, metal and glass

The Kitchen partners with Berggruen Arts & Culture to present  two works by artist, writer, and poet Rhea Dillon (b.1996, London)  that act as sculptural interventions within Palazzo Diedo. Here, The  Kitchen expands its relationship with Dillon, having presented her film  (Working Title) Browning 2025 (2021) in The Kitchen’s online Video  Viewing Room in 2022.  

In Janus *pause* leaking fortified enclaves (2020), Dillon questions  the Black woman’s access to amorphicity, via a consideration of  Jesus’ shapeshifting and crucifixion, to connect Christianity and  colonisation. Colonised cultures were “sanitised” through Christianity,  wherein water offered spiritual sanitisation, echoed in the postmodern  preoccupation with hyper-sanitary spaces. Janus slowly drips water,  equivalent to the slippage of global class and colonial structures,  much like a “leaking fortified enclave”. Dillon inquires: who will be  tasked with cleaning up this mess: the artist, the institution — or will  we all be responsible?  

The Door of the Woman is the glass slipper (Atlas, in transit laid to  rest) (2022) assembles three sourced objects continuing Dillon’s  rewriting of the Greek god Atlas as a Black woman; resurrecting the  reproductive labour required of Black women to sustain neoliberal  capitalism. Vessels are significant for Dillon in their moving of bodies  during the slave trade, the Windrush migration, and as carriers of  souls after life passes.

Palazzo Diedo
Arts & Culture

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Fondamenta Diedo
Cannaregio 2386
30121 Venezia