2011 A Space for a Room

Installation consisting of photographs, audio-essay, paper works, and a found bank safe in the space

2011

View from the ArtPoint Gallery, Vienna, as part of the KulturKontakt Artist in Residence programme

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Note: the black works in the background are not part of the installation.

* Audio-essay [8,29 min]


“A Space for a Room”

This work is negotiating the process of inhabitation.

Being produced in Vienna, the inspiration for this piece comes from the architect and writer Adolf Loos who lived part of his life there. Within his work I am particularly interested in the way he dealt with the interior-exterior relation. Another binary notion – those of travelling and home, play a strong role in it: travelling brings the reflections on the idea of homeliness and home gives safe haven for while being on the journey. This work is residing in between.

How to relate to the architectural work, especially interiors, one cannot access? Bearing in mind that the interior works Loos did in Vienna remain private as intended, as a visitor they remain inaccessible to me. The only way for me to relate to these spaces is by internalizing them and by looking into the space I inhabited there for three months.

What I ended up with were three basic directions coming together – seven photographs taken from the apartment I was living in Vienna, a series of paper works with cut through letters composing key-words and sections of thoughts, and a 8 ½ minute sound-piece in which I negotiate the experience of homeliness and travel, incorporating into it sounds recorded from the same apartment the photographs have been taken from: birds at dawn, horse carriage passing by, children playing.

There are two kinds of photographs, which all together form unison – one is where the architecture appears as a backdrop for actions in which people leave traces like light or car marks, but are absent; and the other kind of photographs is the ones of human uncontrollability – birds flying high in the sky, sunrise and dusk.

Other two poles that balance the photographs are – the cut out words on white paper, notions and phrases that are totally abstract, amplified with the blankness of the paper. Words being cut out of paper makes even stronger the idea of abstractness – it is not the practice of filling the blankness (whiteness) of the paper by writing on it, but delving further into the abstractness of the white paper.

On the other hand, there is the sound – the flow of my thoughts spoken into your ears. The sound piece can be listened to only one-on-one via an MP3 player.

The in-situ touch to the piece is the touch of the present space one is in – the bank safe that runs deep history and connects the present moment to the history and the past inhabitants of the building the piece is exhibited in. During exhibitions at ArtPoint gallery the bank safe not only stays closed, but also enclosed in a white wooden case and concealed from view. By revealing it and crack-opening it, it is the hard proof of temporary inhabitation of the gallery.




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