Hey You There! or Thou Art That [03/2012]

On the 6th of October a person was violently captured by Securitas in the Valand Art School inner yard. The event was witnessed by some people including the artist and recorded by a number of video cameras. The show at the Rotor gallery narrates the story of images and their subjects.

The exhibition is constructed as a courtroom, where a retroactive investigation of the provocative scene takes place. A viewer moves trough the installation as a camera would move through a mise- en-scene. Three video projections of short movies, which are based on the filmed event, are the pivots of the exhibition.

Each video elaborates on the different perspectives of witnessing as a mode of construction of subjectivities. Since interactive Internet based media and rapid digital sharing of visual information have almost become a norm of communication, a distinction between spectator and actor can not anymore be described as the difference between passivity and activity. In this respect the figure of the witness, one who sees but is deprived of or deliberately not acting, becomes decisive. A paradoxical question is posed by the show: “If seeing could be active?”

Hey You There! or Thou Art That [03/2012]

On the 6th of October a person was violently captured by Securitas in the Valand Art School inner yard. The event was witnessed by some people including the artist and recorded by a number of video cameras. The show at the Rotor gallery narrates the story of images and their subjects.

The exhibition is constructed as a courtroom, where a retroactive investigation of the provocative scene takes place. A viewer moves trough the installation as a camera would move through a mise- en-scene. Three video projections of short movies, which are based on the filmed event, are the pivots of the exhibition.

Each video elaborates on the different perspectives of witnessing as a mode of construction of subjectivities. Since interactive Internet based media and rapid digital sharing of visual information have almost become a norm of communication, a distinction between spectator and actor can not anymore be described as the difference between passivity and activity. In this respect the figure of the witness, one who sees but is deprived of or deliberately not acting, becomes decisive. A paradoxical question is posed by the show: “If seeing could be active?”