Mickael Marman and
Come Over Chez Malik's X Motherculture
Full online documentation: motherculture.love/schwarzarbeit/
A (variable, younger) person S cleans for a more or less established, middle-class (variable, older) person F in a middle-class district of West Berlin. The job is cash in hand. Humiliations are received by S; they purchase labor, they promise remuneration. The fact that the (variable, younger) person S grew up in a similar bourgeois neighborhood has less influence on the fact that the job is what it is, the work is the work. Anyone who cleans in private homes usually operates in a well-mapped area; an infrastructure that is characterized by a defined practice in an endless everyday life. A condition should be maintained, which guarantees the client the ability to distinguish between negative and positive remnants of their own habits. This calls for explicit handling; gestures that are inevitably conspicuous through embarrassment within the intimate sphere, which stem from a consensus on the target state: the inventory’s surface. Even the slightest sideline-activities by the worker trigger paranoia or undermine any sense of perfection between the worker and the client; they determine the workflow and the requested product that should reflect the picture in the employer's inner eye. The processes are constantly being re-produced in a fairytale-like comedy. Create surface, clean, remove, add, wipe, paint. This is where the work begins: namely, to make the images of the labor useful in another way; through the labor of the images. The tasks’ principles are thus transformed that they are no longer of importance to the employer and cannot be deducted from the salary. Agreements regarding the images were made (variable person M). The maintenance of a private household, in its allegedly original condition, is to be conserved through a choreographic act and to be captured anew.
Paper, pigment, acrylic, glue, artist frame
90 x 160 cm
60 x 90 cm