Passing On
Düsseldorf, 2019
Performance, Mix media
The project was carried out in a dark red box. A note was hung on the left door informing about the times and instructions of the performance.
The project was carried out in a dark red box. A note was hung on the left door informing about the times and instructions of the performance.
Left side of the door:
During the working hours, the visitors can enter the left side room in the box. Their shoes should be removed and only one person can participate. In the left room, visitors will see two screens. One screen is very small; it is placed on the left side corner in the wall. The another screen is a tablet, which together with a microphone is placed in front of the viewers and connected to the other room. The visitors can look at an unrecognizable person on the screen, whose face is dark due to the shadow. A conversation is then held, the duration of the conversation depends on the situation.
During the working hours, the visitors can enter the left side room in the box. Their shoes should be removed and only one person can participate. In the left room, visitors will see two screens. One screen is very small; it is placed on the left side corner in the wall. The another screen is a tablet, which together with a microphone is placed in front of the viewers and connected to the other room. The visitors can look at an unrecognizable person on the screen, whose face is dark due to the shadow. A conversation is then held, the duration of the conversation depends on the situation.
Right side of the door:
The artist sits in the room and cannot see the viewer but only hear his/her voice. rather than speaking, the artist types words in order to ask questions to the visitor. Answers from the vis-itors should be recorded. During the conversa-tion, the theme of “sin” in art is addressed and discussed. In addition, questions about guilt, confessions and personal information are raised.
The artist sits in the room and cannot see the viewer but only hear his/her voice. rather than speaking, the artist types words in order to ask questions to the visitor. Answers from the vis-itors should be recorded. During the conversa-tion, the theme of “sin” in art is addressed and discussed. In addition, questions about guilt, confessions and personal information are raised.
Examples of the questions during the
conversation.
How old are you?
What is sin?
what is rhe sin of art?
please confess something that you feel guilty for.
Would you like to share or hand over your sin to the next person? your identity will be erased.
How old are you?
What is sin?
what is rhe sin of art?
please confess something that you feel guilty for.
Would you like to share or hand over your sin to the next person? your identity will be erased.
The artist is at the same time a receiver and a giver, who passes on facts from one person to the next person who comes into the room, but only if the visitor also consents. The next per-son will possibly answer how the past situation from the last visitor could be changed or how the guilt could be forgiven.
The concept of this work has several aspects. One is the intimacy and the trust of a person when he/she meets a stranger who may not ex-ist, may be a robot, or may be unrecognizable. It also plays a role in documenting the visitorʼs information. To address sin and guilt, the idea that something has to do concretely with some-one or not, comes into play here, in that it is possible to “pass something on”. Different reac-tions, such as inability, pity, uninvolvement, or a sense of relief at what has happened to anoth-er person, showing how the terminology of sin is constituted in society.
The concept of this work has several aspects. One is the intimacy and the trust of a person when he/she meets a stranger who may not ex-ist, may be a robot, or may be unrecognizable. It also plays a role in documenting the visitorʼs information. To address sin and guilt, the idea that something has to do concretely with some-one or not, comes into play here, in that it is possible to “pass something on”. Different reac-tions, such as inability, pity, uninvolvement, or a sense of relief at what has happened to anoth-er person, showing how the terminology of sin is constituted in society.
