Domestikator

Domestikator is a 2015 architectural sculpture by Atelier Van Lieshout. The work has been the subject of considerable controversy wherein on October 7, 2017 The President of the Louvre in Paris, France, Jean-Luc Martinez objected to the work in which two interlocking buildings appear to be engaged in a sexual act and pulled it from the exhibition Hors Les Murs, (Foire Internationale d'Art Contemperain's outdoor program of architectural projects, sculptures, performances, and sound pieces that runs concurrently to the fair) held in the Tuileries Garden where it would have been displayed nearby a playground and instead the work was displayed by the Centre Georges Pompidou in the front square outside of that art institution for a simultaneous run. Domestikator is a 2015 architectural sculpture created by the Dutch artist collective Atelier Van Lieshout, known for their provocative and often controversial works that blur the boundaries between art, architecture, and social commentary. Domestikator, in particular, attracted widespread attention and debate due to its provocative subject matter, which combines elements of sexuality, power dynamics, and urban design.

The sculpture consists of two interlocking, oversized structures that appear to be engaged in a sexual act, their forms suggestively intertwined in a position that resembles a highly stylized, mechanical version of copulation. The piece, while abstract in its execution, evokes clear imagery of human intimacy and domination. This exploration of bodily forms and sexual energy, when applied to the context of urban structures, challenges the traditional understanding of architecture as a functional, neutral environment, instead presenting it as a space of emotional and physical interaction.

In October 2017, Domestikator became the focal point of a highly publicized controversy when it was slated to be part of the Hors Les Murs (Outside the Walls) exhibition, an annual outdoor program organized by the Foire Internationale d'Art Contemporain (FIAC) in Paris. This exhibition is known for featuring large-scale sculptures, performances, sound installations, and architectural projects that are displayed in various public spaces throughout the city, including the renowned Tuileries Gardens, a historically significant area adjacent to the Louvre.

However, the sculpture's explicit visual representation of sexuality quickly became the center of a heated debate when Jean-Luc Martinez, the President of the Louvre Museum, objected to its placement in close proximity to the gardens and the nearby children’s playground. Martinez argued that the work was not appropriate for such a public and family-oriented space, expressing concerns about the potential discomfort or confusion it could cause among young visitors. The decision to remove Domestikator from the Tuileries Gardens was met with disappointment by many in the art world, as it represented an instance of censorship and a question of the boundaries of public art. Some critics saw the removal as an attempt to sanitize public spaces and avoid challenging audiences with provocative, potentially uncomfortable art.

Following the removal, the piece was relocated to a different site: the front square of the Centre Georges Pompidou, one of Paris's most important cultural institutions, which is known for its avant-garde architecture and support of experimental contemporary art. Situated in a prominent, highly trafficked area of the city, the new location allowed the sculpture to remain in the public eye, albeit in a different, more distanced context. The juxtaposition of the work outside the Pompidou, a center known for its radical and boundary-pushing art, offered a new dimension to the discourse surrounding the piece, as the conversation shifted from the context of its initial location in the Tuileries Garden to the broader issue of artistic freedom and censorship in public spaces.

The controversy surrounding Domestikator is emblematic of the broader cultural debates about the role of art in public spaces, and the ways in which provocative works challenge societal norms and expectations. While some view the sculpture as an empowering commentary on human sexuality and the dynamic relationship between public and private space, others see it as an inappropriate display for a family-friendly environment, highlighting the often subjective nature of art interpretation in public settings.

This episode of controversy underscored the tensions that exist between avant-garde artistic expression and the social responsibilities of cultural institutions. It also raised questions about who gets to decide what art is considered appropriate for public viewing and who benefits from the exclusion of certain works. Ultimately, Domestikator’s display at the Centre Georges Pompidou sparked discussions on freedom of expression, censorship, and the role of art in challenging societal norms, all while ensuring that the sculpture continued to provoke thought and conversation on the nature of public art and its boundaries.