Pictures, I-XXX, thread and wax on fabric, 2013

They were laying on thrift shop shelves waiting to be bought a second time, old handkerchiefs, most of them threadbare, marked with little stains and fissures. Discreet storytellers, revealing but tiny traces, little hints to inspirit the fantasy.

Who did this handkerchief belong to? Where was it’s ordinary place? In a man’s jacket? Who washed it? Who ironed it? How much blood has it soaked up? How many tears? Did it smell of a perfume? Was it used to give a child’s nose a blow? To dress a wound? To wave goodbye?

Flurina Badel uses the symbolic significance of old handkerchiefs as a projection screen for messages between two people: testimonies of love, desire, devotion, of disruption and vulnerability. Besides, LOVE HANDKERCHIEFS provide the artist with a field to experiment with kitsch and cliché. It is about scanning borderlines, about crossing them consciously or consciously not doing so.  


All Love Letters Are Ridicolous

All letters of love are
They wouldn’t be love letters if they were not


But at the end
Only those who never wrote
Letters of love
Are really


Álvaro de Campos, 21-10-1935 (Fernando Pessoa)


Cartas de amor são ridículas

Todas as cartas de amor são
Não seriam cartas de amor se não fossem


Mas, afinal,
Só as criaturas que nunca escreveram
Cartas de amor
É que são


Álvaro de Campos, 21-10-1935 (Fernando Pessoa)



by moxi