September 4th, h. 6PM
video footage from the point of view of statues
geometric structures that escape the angle of surveillance cameras
I’m thinking about those movie scenes where the protagonist is dangling by a rope which is starting to break. But the rope doesn’t break all of a sudden – zap! and it’s over. No, time dilates and the rope is breaking thread by thread, adding to the tension. We look at the rope breaking and we anticipate the imminent catastrophe. But the catastrophe fails to arrive. Something happens in the last moment, by the last thread.
This progressive breaking represents a confiscation of the present, while waiting for a catastrophic future when the protagonist might die. An object serving other objects, the rope carries the implicit meaning of mistrust. One must be cautious when it comes to the rope. Even if it appears intact, inside of it the breaking might have already started to happen.
So while looking at the rope you won’t linger on the surface. The look will try to go inside, looking for the guilt of a future failure.
“There’s nothing we can do with this heritage” is a project which explores the public space as an area of intersection between time and gaze. Time as a gliding and blending of past-present-future and gaze as a projection of a generalized distrust.
On the axis past-present-future, statues represent an unsolicited heritage that acts as a parasite of the present time and space. They deflect our look away from the personal and present to inanimate objects invoking the past. A heritage that looks at us but fails to see us.
In the meantime, countless surveillance cameras collect video material for a future viewing. A heritage of the present for the future. Our heritage to ourselves. And so I wonder: if I spend all of today watching yesterday does today still exists?
In the public space, time and gaze are not ours anymore. They are owned by an invisible force named power – be it state, corporation, the Other. A constant reminder about a ruling.
In Atelier 35, hidden behind cafes and bars, safe from surveillance cameras, Dana Andrei and Coate-Goale are appropriating spaces and gazes found through the city.
text by Larisa Crunțeanu
Many thanks to: Atelier 35 (Larisa Crunțeanu și Xandra Popescu) and Atelier Brut (Andrei Dinu).