Written by Karina Hjort

Gesture and political impact throughout history are at the core of the themes explored in rennie museum’s current Winter 2015/2016: Collected Works exhibition. While their practices are diverse, the 41 artists featured in the show have a few things in common: they all ask questions about what life has shown them. They don’t accuse, rather, they tell stories. They do not propose an answer to the issues but tell what they see. Trying to get an overview of all of the works can be overwhelming. Looking at each work separately, one realizes that the works comment on our everyday life and how we treat each other. Above all, the exhibition sparks a conversation that each visitor can continue after leaving the museum.

Entering the museum, one is struck by an odd cityscape: a large white camel. It is by John Baldassari, Camel (Albino) Contemplating Needle (Large) (2013). Following the camel, we find a more familiar set of objects: two light boxes that glow like an adver-tisement at a bus stop. Dating 2003, the two light boxes make up one work. A similar artwork, this time in the form of a mirror, hangs beside them in the corner of the room. Both artworks made by Jota Castro, a French-Peruvian artist, and share the same title: Motherfuckers Never Die. On each of the works, there is a list of names that we may not immediately contextualize. Further research shows that one light box lists successful corporations and their CEOs, the other lists a set of names involved in terrorism, and the mirror has a list of prominent art collectors.

So why put names on a list? Why light boxes? These are the first thoughts that come to mind when viewing Motherfuckers Never Die (2003). Light boxes are already widely displayed in the city. They are most commonly placed at transit stops or metro stations for commercial purposes. The strong light from these boxes efface everything around them. It draws the attention to the “product” on display. Light boxes glow with pride, begging to be noticed at every hour of the day. So what is Castro trying to sell us? It is unclear. Here, the product seems to be a set of names with the title Motherfuckers Never Die, which is not something one comes across every day. The strong light also reminds us of a movie screen, whose purpose is to keep our attention. The list can also be compared to film credits, which shows all the people involved in a production. Being credited is a way of being memorialized: your name will always exist on that list. If we see a great movie, we remember it. We might forget the names of the actors, producers, or directors, but not the title of the film. The same goes for Castro’s names. These people will be remembered forever, perhaps not by name but through their actions.

The black light box is a great example of how people are remembered for their actions. The top part of the list consists of people involved in the Israeli/Palestine conflict, many of whom were involved in bombings. Following these names are those in-volved in terrorist acts against the US, including the 1993 World Trade Centre bombers and the 9/11 hijackers. At the bottom of the black light box, it says “To Be Continued”. This phrase reminds us that a terrorist is either jailed or will die through his or her ac-tions. Therefore, new recruitments are necessary for that list to be maintained. Since 2003, many names could have been added to that list.

The purple light box is a list of companies who produce consumer goods. The familiar names span from Walmart, Exxon-Mobile, General Motors, General Electric, Siemens to AOL Time Warner. It is striking how much the list looks like Fortune Global 500, a list published every year. When compared to the Fortune 500 list, it is interesting to note that Castro’s list does not include insurance and financial groups, which he might have added if the work had been completed following the 2008 market crash. Since 2003, some of the listed CEOs are still in their seat, some have retired and some have been fired for various reasons. But the companies Castro has represented are still amongst the highest grossing organizations in the world.

Castro has chosen to use the official typeface of the United Nations, which has a resemblance to the widely used Arial typeface. The choice of typeface connects these lists to every country in the world, because everyone is affected by the decisions made by the UN. In theory, the UN is supposed to be a positive influence on all of us. But are they? And are we aware of how many decisions they take each and every day to try and “help” us? Does it matter? Castro’s works makes us consider that the decisions made by each of the named individuals are global in scale, and therefore affect all of us.

Motherfuckers Never Die (2003) may use a product advertising format, but the work has a strong political undertone. Castro himself has said about the works: “These light boxes list the names of personalities that I especially loathe. Since there exists no official definition of what a “Motherfucker” is, the list is therefore very personal.” * Even though Castro might say the lists are personal to him, these works become personal to us as well— most of us are familiar with the actions of these people. Castro reminds us that motherfuckers never die, because someone is always ready to take their place. His focus sheds light on an extensive subject matter that we might not notice in our daily life. Showing us his opinion does not provide any solution. Castro urges us to start asking questions that will create change. The change starts with you and me.

*Sans, Jerome and Frederic Grossi, eds. Jota Castro. Paris: Paris Musees, 2005. Print.