SLEEPWALKER. THE THIRD MAN. (Soft emplacement.)
Me. is me this name. IS this beginning or end. it would be the best to be born on the moon. (this) time will not come, it never comes; perhaps posthumously. the sphere of talking is where the mouth does not serve only for eating. learning to talk deep in the word, one should start at white, with white. the NON-present remains.
A gallery is still a space. A space with walls, physically and symbolically separated from the outer, open space. We are inside, this is the inner space open inasmuch as its “contents” are open. (Thus the framework of the exhibition is the gallery space, which is not only the physical/objective space of presence, but primarily the significative space of art /being present?/.)
sleepwalker. out of a bed, out of sleeping, horizontally, from one sleeping to another. the day time, the night time. where do I stand, where did I lose the standpoint. this is the way on which the way also ends. The installation in space is composed of pillows situated on/along the staircase as the place of passage. Generally we do not live on starcaises, they primarily serve for. Walking on physically soft and symbolic pillows constitutes a route for different relations and meanings of look/space/touch in art. a soft landing far, far away. tiredness, sleeplessness in time (it was not a suicide, there is no message about who it was). one should leave the eyes outside and dedicate oneself to blindness. It is (also) the idea of a direct, physical occupation, or colonisation, of the (gallery) space or, properly speaking, of the staircase which connects two levels of the gallery building. The installation thus connects and extends (in) between these levels. The work is not intangible, but rather tangible, emplaced (and exhibited) lying on the stairs (on the floor, in fact), although the installation has its height, the height reached by the stairs. The space-painting is intended for walking, and through walking the viewer also incorporates his/her body into the work. To step on the rest for the head is not a neutral act, but the walking (soft, easy) nevertheless takes place; there is a step and there are steps (unusual, unnatural). The installation cannot be grasped with one sole look, but rather – literally – in several steps. Walking is not waiting, it can be searching.
where not one love exists, prostitution is already present. generally people would like to resemble someone, to resemble the other. people are full of other people, and not full of themselves. how could I resemble myself. I certainly do not want to seek the truth: the truth is not secret; it is important to seek the lie, to explore the lie. Thus the installation offers two possible viewings: the view from a distance, from afar, and the immediate experience of the installation through walking. In fact, the installation does not have its own space (when occupying the stairs it has only borrowed the space), its territory, its 'grounds'. Somehow it is without the inner, unreachable space, for it is 'all' within the reach of the viewer's steps, exposed and stretched out in front of his/her feet.
the third man. sugar, sweet honey, and star treks. I was, but when I was is not a question any more, it is personal ballast. one should preserve the secret, and one’s own land, even if it smells of death. Human or non-human? The installation is shaped according to the step (measure) of man, and thus it is anthropomorphic, but not anthropocentric, since man is no longer the measure nor the limit of all matters. The imaginary space is other, different, larger and wider than human experience.