TATLIN NEWS #47

rather performed by the foaming surface that absorbs the space and gives it the language of the sky. House of Knowledge is like a clot of anthroposphere coagulated at the scale of a thinking man that prepares us for presence of the sense that is sliding across words and things. Large scale and the possibility to enter the inner space open the capabilities of a pavilion in the structure. The sculpture acquires the role of a building. Author thinks that «the human body is the ideal architecture for protection and life of our souls, dreams and wishes». The hardly visible entrance at the foot level lost in the haze of letters replicates the effect of the famous topological paradox, the Klein bottle, when there are no boundaries between inner and outer surfaces. Along the convex- concave shapes the texture lace is absorbed into the interior, where, in the whirlwind over the visitor’s head is reaches its apogee in the

cupola of the mind space. From there the in- trospection energy goes far away again, open- ing the face and turning it to the horizon. The bodily breakdown of interaction be- tween physics and lyrics goes up to the ancient mythological visions of anthropomorphic code of the Universe. Plensa adds up to the story of creation of the world from the first human with logocentric message, literally constructing the body from the language (or vie versa). Besides, the artist’s work is seen as the vis- ual calque of key statements of later Merleau- Ponty: «And if we would like to fully explain the architectonics of human body, its ontolog- ical structure and how it sees and hears itself, it will appear that its mute world has a struc- ture equipped with all linguistic capabilities in advance.» However, certainly, this is not the body proper, but rather a thin porous corporality or fleshliness, the intermediate film or mem-

94 ТАТlIn news 5|47|64 2008