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Persil´s box (Talk)
Mnemosyne Lab 🌐
December 14, 2021, 8pm
Invite:
Dear Mnemosyne Friends,
We are very much looking forward to seeing and discussing Raphael E. Linsi's panel "Persil's box" in the upcoming SESSION. If we still have time and energy after the discussion we will discuss panel 77 with a glimpse of panel 79. Panel 77 was the starting point to ask Raphael if he would like to present his investigations on detergent in the form of a panel. we will see if there could be a connection here.
Raphael E. Linsi's extensive research revolves around the detergent brand Persil. Until the physician Nicolas Leblanc developed the artificial production of soda (1791), soap was largely a luxury product. Those who could not afford soap had to wash (themselves/clothes) either with hot water only or simply less frequently. It is no coincidence that this process was invented by a physician who was also a chemist; for until the middle of the 19th century, chemistry could not be studied as an independent subject, but was a branch of medical studies or of other industrial/craft apprenticeships. Chemistry was a backbone or connective element of many industries that emerged in the 19th century, if not of industrialization itself. The detergent industry, as a sibling industry of the pharmaceutical industry, was built on what was now declared to be independent chemical research. At that time, at the beginning of the 20th century, the Henkel company was a protagonist in the development of products useful for everyday cleanliness and domestic hygiene. Appropriate advertising slogans and graphics had to be designed for the various sub-brands. Taking cues from prevailing sentiments in society and political agendas was a possible gambit that companies adapted as "marketing" (another young field). And an advertising graphic for the detergent Persil from 1938, which was taken up again by the Henkel company in 2017 for an anniversary edition (image in the attachment), is Raphael E. Linsi's departure to take a closer look at the much-entangled history of the Henkel company and family. Can the material foaming up here shed a different light on the product detergent in its cultural, medical and production-historical meaning?
We are very much looking forward to seeing and discussing Raphael E. Linsi's panel "Persil's box" in the upcoming SESSION. If we still have time and energy after the discussion we will discuss panel 77 with a glimpse of panel 79. Panel 77 was the starting point to ask Raphael if he would like to present his investigations on detergent in the form of a panel. we will see if there could be a connection here.
Raphael E. Linsi's extensive research revolves around the detergent brand Persil. Until the physician Nicolas Leblanc developed the artificial production of soda (1791), soap was largely a luxury product. Those who could not afford soap had to wash (themselves/clothes) either with hot water only or simply less frequently. It is no coincidence that this process was invented by a physician who was also a chemist; for until the middle of the 19th century, chemistry could not be studied as an independent subject, but was a branch of medical studies or of other industrial/craft apprenticeships. Chemistry was a backbone or connective element of many industries that emerged in the 19th century, if not of industrialization itself. The detergent industry, as a sibling industry of the pharmaceutical industry, was built on what was now declared to be independent chemical research. At that time, at the beginning of the 20th century, the Henkel company was a protagonist in the development of products useful for everyday cleanliness and domestic hygiene. Appropriate advertising slogans and graphics had to be designed for the various sub-brands. Taking cues from prevailing sentiments in society and political agendas was a possible gambit that companies adapted as "marketing" (another young field). And an advertising graphic for the detergent Persil from 1938, which was taken up again by the Henkel company in 2017 for an anniversary edition (image in the attachment), is Raphael E. Linsi's departure to take a closer look at the much-entangled history of the Henkel company and family. Can the material foaming up here shed a different light on the product detergent in its cultural, medical and production-historical meaning?
Probably Aby Warburg could have mounted the "Persil lady" with her dynamically (in the wind) moving garments on the plate 77 of the Mnemosyne Atlas. Whether a "Persil-Schein" could be tacked on as a "compurgation" on an extension of plate 79 - in the context of confession, hope and atonement - that would be less evident, but quite possible.
organization and text by Philipp Schwalb
Moons asleep (solo)
Porto
May 28 - July 4, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
Moons Asleep #2, Inkjet print, 40 x 30 cm, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
Moons Asleep #12, c-print, 10 x 15 cm, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
Moons Asleep #6, c-print, 20 x 30 cm, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
Moons Asleep #30, c-print, 10 x 15 cm, 2021
Moons Asleep #19, c-print, 30 x 10 cm, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
Moons Asleep #16, c-print, 10 x 15 cm, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
Moons asleep #29 , Textile Patch, 18 x 12 cm, 2021
Moons Asleep #15, c-print, 10 x 15 cm, 2021
Moons Asleep #5, Inkjet print, 40 x 60 cm, 2021
installation view, Moons asleep, A certain lack of coherence, Porto, 2021
Moons Asleep #14, Inkjet print, Acrylic Glass, 30 x 40 cm, 2021
Handout:
Moons Asleep #27, c-print, 10 x 15 cm, 2021
installation view, Answering phone calls by email, Kunst Raum Riehen, 2020
The meta is the neurosis (troubled Mind), c-print, 20 x 30 cm, 2020
Flat tire (Triathlon (Vendredi soir (Claire Denis), I put a spell on you (John Burnside))), acrylic on canvas, 70 x 70 cm, 2020
Pushing a chair (Night Shift Mode), c-print, Dibond, 70 x 46 cm, 2020
Flat tire (Grand Prix 5000 (Park (Marius Goldhorn)), acrylic on canvas, 70 x 70 cm (Detail), 2020
Space receiver, inkjet print, aluminum, acrylic glass, 31 x 47 cm, 2020
Scared up rabbit, inkjet print, 65 x 44 cm, 2020
Flat tire (Answering phone calls by email), inkjet print, aluminum, acrylic glass, 100 x 150 cm, 2020
Flat tire (Answering phone calls by email), inkjet print, aluminum, acrylic glass, 100 x 150 cm, 2020 (Detail)
installation view, Answering phone calls by email, Kunst Raum Riehen, 2020
Flat tire (Grand Prix 5000 (Park (Marius Goldhorn)), acrylic on canvas, 70 x 70 cm, 2020
gap (don't close the bookshop), two bookends, Fingerprints, tape, 110 x 26 x 26 cm, 2020
Based on a true story (group)
Raphael E. Linsi, Tobias Spichtig, Valentina Minning
Curated by Bho for FiancE
Salts, Basel
July 4 - August 8, 2020
Exhibition view, Based on a true story, Salts, 2020
The meta is the neurosis (Red), Inkjet Print, 31 x 47 cm, 2020
The meta is the neurosis (Upside down), Inkjet Print, 15 x 23 cm, 2020
The meta is the neurosis (The last day of a year, (31.12.2019)), C-Print, 10 x 15 cm, 2020
--------- end of exhibition documentation
February 2020, Inkjet Print, 20 x 30 cm, 2020
April 2020, Inkjet Print, 20 x 30 cm, 2020 (Night Shift Mode)
April 2020, Inkjet Print, 20 x 30 cm, 2020
May 2020, Inkjet Print, 20 x 30 cm, 2020