The Hermaphrodit Twins in Art.
the artist lives and works in Berlin, Germany.
EVA Height : 176, Bust : 101, Waist : 81, Hips: 96, (in cm)
ADELE: Height : 161, Bust : 86, Waist : 68, Hips : 96

Dec 04

While browsing the major artistic expressions of contemporary art for more than ten years and, while traveling through the world in their stylized pink motor home, EVA & ADELE, living icons of contemporary art, became known, recognized, popular figures. Considering that “everything that they do and are is a work of art", they develop an outstanding production, based on ideas of permanent interchange with the public, in a real symbiosis between art and mass culture, between public and private life, ignoring all barriers or frontiers: these are the "Grenzüberschreiter " EVA & ADELE.

Like angels, EVA & ADELE don't have a past or a history, if it is not one that we share with them, and belong to an indefinable type, between masculine and feminine, refusing all categorization: OVER THE BOUNDARIES OF GENDER.

In the same way, EVA & ADELE don't establish separation between daily life and artistic creation, making themselves up and dressing every day as auto-stylized living sculptures, as one sees them at their public appearances: ART IS LIFE AND LIFE IS ART.

WHEREVER WE ARE IS MUSEUM - EVA & ADELE's museum is in essence public, in public space, but it duplicates itself in a more intimate dimension when one takes into account the deep, impenetrable and almost introvert work of the artists in creation - in a quest for the permanent balance that allows them to maintain and to give life to the mysterious aura that surrounds them.

"Wherever we are is museum" - this is one of Eva´s and Adele´s few, though often repeated statements. Its formulation is altogether unusual, and we cannot quite come to terms with the somewhat Germanic construction and the missing indefinite article. Correctly, it should read: "Wherever we are is a museum", or, better still, "A museum is wherever we are". What is even more irritating, however, is this artists duo´s seemingliy arrogant claim to museum status. But both the grammatical aberration and the assertion of the statement are central central to what Eva and Adele have now been propagating and practising for many years. Their notion of a ´museum´ has to do neither with a building nor with an institution, but is rather to be understood in the original Greek sense of "mouseion". In Greek antiquity, the word "mouseion" referred to the sacred temples and groves dedicated to the Muses, the goddesses of arts. As fate would have it, and as the ancient myths recount, the Muses inspired the arts of music and poetry, indeed they were several in number, whilst the visual arts remained unprotected, coming away completely empty-handed, as it were. Not even among the liberal arts as a whole - Grammar, Rhetoric, Dialectics, Arithmetic, Geometry, Music and Astronomy - was there a place for the visual arts. And so fate has finally decreed - and better late than never - that the Muses Eva and Adele should make up for this shameful oversight by lending the visual arts a helping hand with their claim to recognition as a faculty of the liberal arts in their own right. And since there is a general lack of sacred temples and groves, Eva and Adele focus their ´museum´on public places, where they attract the attention of, and meet with, the members of public; indeed, it is this personal confrontation and exchange which is the very essence of their "museum".
It was assumed, for quite a long time, that these eventfull meetings were confined solely to the art scene. There was not a single important event on the art calendar at which Eva and Adele did not make their appearance, wether Documenta in Kassel or the Biennale in Venice, wether art fairs in all parts of Europe or the Berlin exhibition ´Metropolis´, the last-mentioned event beeing - astonishingly, in retrospect - the one which, in 1991, sparked the whole thing off, that is to say, inspired the basic artistic concept of Eva and Adele. And wherever these two strange, extravagantly dressed baldheads appeared, they would inevitably steal the show, even where the gathering of art disciples was at its most sophisticated and exclusive. Meanwhile, however, it has become obvious that these meetings can take place with all kinds of people and in every conceivable situation, on a remote camping site in the Peloponnese or in a plane to New York, in the Berlin grocer´s shop where Eva and Adele do their shopping, or in the underground on their way to their next meeting. "Wherever we are" - that means anywhere: in the street, in a bar, in a public lavatory and, of course, in any of the Meccas of the art world. No matter where we are, we might readily chance upon Eva and Adele, though this meeting, or much rather its consummation, will largely depend on wether we are willing to take them up on their offer.For in the final analysis it is not so much the geographical location as the situation and its dÈroulement which constitute the essence of their ´museum´. What is most important about the process is that we do not merely register the presence of Eva and Adele - as we do in the case of the hundreds of people that cross our path every day - but rather become aware of them. In other words, they must attract our attention. It is a moment of attraction which both presupposes our alertness and sympathetic curiosity and, by the same token, sets an interactive process in motion.
Renate Puvogel