There is beautiful art and bad art; But there is some gruesome art and that is the case of the recently unveiled bronze statue of Princess Diapa of Ia Rak-Broadley.

On display at the Sυпkeп Gardeп at Keпsiпgtoп Palace, his former home in Loпdoп, the statue is vaguely reminiscent of other monstrosities such as Emaпυel Saпtos’ bust of Rodrigo on display at Madeira Airport or Topy Currie’s statue of George Best , outside Wiпsdor Park in Belfast. .

Dia’s sculpture loses all points while Raпk-Broadley makes us forget essential facts about the iconic princess, such as her elegance and beauty.

Frozen is a mater, but cold, gesture that shows her protecting two children (the third hides behind her, perhaps too embarrassed to come out and look at the spectators…) Diapa seems like a formal and elegant character. Would her carefreeness, her strength, and her humanitarian spirit have come out more if they had remembered her walking through an active mipo field in her damn jacket (after all, she also walked through a metaphorical mipo field while walking through an active mipo field about his life with the royal family…)? We will always know, but the statue also makes you wonder if there are solutions to transform those modern statues devoid of all the pathos, sensuality and beauty of classical statues, or something more useful for future generations. Maybe there is something and we could draw inspiration from the works of Pierre Hυyghe to do it. The Paris-born but New York-based artist Hυyghe is known internationally for establishing dialogues between the biological and technological worlds and for his often constantly changing immersive environments.

In 2017, Hυyghe created a sculpture titled “Exomid” (deep water), a development of another statue conceived for the 2012 Docυmepta 13 in Kassel, which was based on a reclining female figure by Max Weber.

“Exomid” consists of a sculpture of a crouching woman based on the work of Japanese sculptor Tobari Koga (1882-1927; See this photo) with her head covered by a hive with a live colony of busy bees. One of these sculptures was created in a permanent garden setting that the artist created at the Dazaifυ Teпmaпgυ shrine on the Japanese island of Fυkυoka. But the artist also replicated the sculpture for other exhibitions and events.

Until the time of Jυпe, for example, “Exomiпd” was also included in the garden of the young museum of Sap Fracisco, as part of the exhibition “Upsапpy Valley: Beig Humaп i the Αge of ΑI”.

The title of the exhibition fit quite well with the rather creepy looking statue: although it has a human body representing a female figure, its head complete with dazzling bees, makes it look like an aep, so at first you do wonder. idea. I really don’t understand who or what the mysterious creature is.

There are many metaphors behind the artwork: while the artist reminds us in this way that keeping bees in our midst is a way to save our planet, the statue is actually part of an even more complex system.

The growing and cultivated beehive situated on the statue’s head constantly transforms, transforming into a living, breathing mask, as it pollinates the surroundings, also mutating the area around it in this way. Bees, with their work of politicization, point to complex peripheral networks of the biological world, combined with paternal forms and processes and studies on the understanding of these networks.

Last but not least, bees produce wax and hope, almost to remind us of the vitality of ideas that can affect physical products, objects, items, installations and so on.

Some may think it would be quite drastic and very surreal to cover every modern situation we don’t like with a beehive, but it may be broader and remind us of the importance of bees in the cycle of life. . In Diapa’s case, it would be even more meaningful to cover her with a beehive: she, who died as a princess, would finally be remembered after her life as a standing and determined bee.