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Endangered bees and honeycombs

Over 300 frames with honeycombs form the basis of the installation “Endangered bees and honeycombs”. The scent of the honeycombs, which were once filled with honey, spreads throughout the room – meaning that the work can be experienced not only visually, but also through the sense of smell. The installation is accessible via one side; the interior promises a sense of security. The incident light is dimmed by the honeycombs, creating a cosy atmosphere. The different shades of the combs, from golden yellow to almost black, result from the frequency of their former use: the more often the frames have been reused by beekeepers, the darker the colour of the honeycombs they contain.

Anna Boghiguian sees a parallel to democracy and monarchy in the way bees live together naturally. The bees cohabit in a regulated state, ruled by a queen who is responsible for maintaining her colony. But “Endangered bees and honeycombs” is also a reference to the worldwide dying of bees, which continues due to the use of pesticides in conventional, single-crop agriculture, air pollution and climate change.

Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views MGK Siegen, 2021–2022, foto: Philipp Ottendörfer
Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views MGK Siegen, 2021–2022, foto: Philipp Ottendörfer
Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views MGK Siegen, 2021–2022, foto: Philipp Ottendörfer

Beehives, wood, painting
dimensions variable
Installation views MGK Siegen, 2021–2022
fotos: Philipp Ottendörfer

Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views S.M.A.K., 2020–2021, foto: Dirk Pauwels
Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views S.M.A.K., 2020–2021, foto: Dirk Pauwels
Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views S.M.A.K., 2020–2021, foto: Dirk Pauwels
Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views S.M.A.K., 2020–2021, foto: Dirk Pauwels
Anna Boghiguian, Endangered bees and honeycombs, 2020, Beehives, wood, painting, dimensions variable, Installation views S.M.A.K., 2020–2021, foto: Dirk Pauwels

Beehives, wood, painting
Dimensions variable
Installation views S.M.A.K., 2020–2021
Fotos: Dirk Pauwels
​​​​​​​Text by MGK Siegen 2022

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Anna Boghiguian

Anna Boghiguian was born in Cairo, Egypt, in 1946 and has Armenian roots. She studied political and social science at the American University of Cairo and holds a BFA in fine arts and music from the Concordia University in Montreal, Canada. Since the early 1970s, her art has emerged from various movements around the globe, translating a nomadic experience and gaze into painting and installation, collages and books. As a traveling artist, she tells of how people and ideas, relationships and goods vary and evolve, sometimes bright and fluid, sometimes bound in inequality and oppression. Boghiguian's broad insight into literature and worlds of thought makes her art a profound source of contemplation. In 2015 Boghiguian received the Golden Lion at the Venice Biennale and in 2024 she will be awarded the 30th Wolfgang-Hahn-Prize of the Society for Modern Art at the Museum Ludwig in Cologne. Her work has been featured in major solo exhibitions around the world, most recently at the Power Plant, Toronto (2023) Kunsthaus Bregenz in Venice (2022), IVAM, Valencia (2021), SMAK, Ghent (2020), Tate St. Ives (2019), the New Museum (2018) and the Museum der Moderne, Salzburg (2018) and in numerous international group shows including the 22nd Sydney Biennale (2020), Castello di Rivoli, Torino (2019), the Museum of Modern Art, New York City (2017) and the dOCUMENTA (13), Kassel (2012).



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