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Continuing his practice of deconstructing and reconstructing existent political ideologies in museum collections and museology, particularly by exclusion , Rizkalla also plays with the notion of memento horribilis by placing select objects, images, text, new media and sound throughout the Ocular Lab Inc. space to evoke imagination and/or individual associations from his audience in response to this.
From its' commencement in 1994, at Museum Victoria, this project is another component of Rizkalla's Ocular Labyrinth Project - using 26 linguistic propositions he problematises the institutional construction of knowledge and the production of culture via the alphabet - as he arrives at the letter W in the construction of a kind of encyclopaedia of the human condition.

Walking sticks, war and witness... these signs relating to W reveal a method of "inquiry into language as it unfolds into objects and images" and refer to 18 th century wunderkammern , or cabinets of curiosity, where collections of objects and images reflect the categorization of knowledge. Rizkalla's works, however, provide a dialectical method of critique into the relationship between power and knowledge reflected in these institutions, whose practise continued and developed into the modern museum, while opening the possibility for the production of a variety of narratives in response to his collection of materials/ideas.

Kirsten Rann

Bond, Tony, "The Accursed Share", Look, AGNSW, 1994