When wandering in these fictitious worlds, we are exposed to the arbitrariness of irrelevance. Everything may pose a threat to our own sheltered reality. In case you hav e read Ubik by Phillip K. Dick, you'll have a pretty good idea about the irritation caused by the relativity of the notion of time; and the threat posed by the irrelevance of the absolute. I.e. you know a fair bit about the destructive force of parallel constructs of reality.
SSAccording to you, where are the interfaces between
these parallel worlds and the ritual?
Parallel worlds can also be called alternative worlds.
Offering alternatives triggers processes by which
rituals may come into being. Crumpled paper, for
example, is nothing but a piece of paper formed into
a ball, something we know and understand how it
is made. All of us have already crumpled paper. By
doing this, do we w ant to hide what has been written,
do we want to have it unwritten or undone?
Is crumpling an expression of anger? Or does it serve
to make an object that we can then throw around?
Or is this thing, this crumpled piece of paper, used
to fill up a hole in the wall, or shoes that are too big?
Or could it serve for something else? We may attribute
a variety of properties and functions to it. It is
neither a product nor a design, it is neither art nor
architecture, and it is not literature either. The creation
of a piece of crumpled paper is a kind of a ritual
that we all know. The act of crumpling paper is familiar
to us, and the object itself tends to lose its significance as soon as we have completed the process. For
me, however, it's the act that counts. While a piece of
crumpled paper is visible, there are many things that
I have done that were not visible at the beginning. By
allocating "functions" to them, I have made sure thatthey gain visibility. What these works have focuses on is the need to overcome hierarchies and to curtail authority. There were no titles or instructions given to any of these works. People were neither prevented from touching the works nor encouraged to manipulate
them. I didn't want to prove anything. I just wanted to see what would happen if...
You're saying that the institution itself may and/or
must interfere at certain moments, and you're calling
the exhibition space the "living room" of those in
charge. When the big holes were created during the
Waterpoint exhibition at Kunsthaus Baseband, the question of interference actually became highly urgent.
