Nicola Trezzi: You are based in Mexico City but you originally established Tercerunquinto in Monterrey. Can you share the premises of your collaboration and, considering the urban focus of your work, how much the city of Monterrey influenced the early stage of your practice?
Tercerunquinto: We have always felt that being born and growing up in Monterrey has played a major part in shaping on our ideas about art. The influence of the city is clearly evident when you look at the materials we began to work with. Monterrey is a very important industrial city; cement, concrete and other materials related to construction have been the touchstones of progress and social development and are thus emblematic of Monterrey’s culture. On the other hand, the collective, which we formed when we were still art students, was for us a survival strategy in an environment which was very hostile towards the younger artistic community. Monterrey – its institutions and support system – was not particularly benevolent to artists, unless you were useful to their ideas; and as young people training to become artists we were much more limited in terms of access.
M I X E D M E D I A
Institutional Negotiations
An Interview with Tercerunquinto
Written by Nicola Trezzi
Tercerunquinto, “Dismantling and Relocation of the National Emblem”, 2008
Photo documentation of the action on the facade of the Ministry of Foreign Affairs’ former building, Mexico City
Courtesy of the artists and Proyectos Monclova, Mexico City
Simultaneously ephemeral and monumental, the work of Tercerunquinto intervenes in both public and private spaces, questioning the limits between the two spheres, and breaking down the components of these systems. Deeply rooted in the context of Mexico and yet inextricably connected to global instances, both in terms of language, issues and positions, the practice of Tercerunquinto could be seen as a perfect mix between a sociological research team, an architectural firm, and a collective of artists. In this interview with Nicola Trezzi, the members of Tercerunquinto openly share their position on how blending art and politics can actually generate a “space for negotiation” that, if it won’t change the world, will definitely change the mindset of those who inhabit it.
Installation view of the group exhibition "Normal Expectations: Contemporary Art in Mexico", Museo Jumex, Mexico City, Mexico, 2018
Photo credit: Ramiro Chaves
Photo credit: Ramiro Chaves
NT: Tell us about your name, what are the literal and conceptual meanings of the Spanish word Tercerunquinto and how did you come upon such a name? Did the name influence your practice or vice versa? Did your ideas create the name or was it working together in a specific way that brought you to use this word as a signature?
Tercerunquinto: Basically, the name directs one to think of an integer or a whole divided into several parts, although only one of them is named: the 3rd out of 5. For us, the name was a way to recognize ourselves as a collective, as part of a dynamic entity that was never totally complete and in which the involvement of each of its members changed with each work. Even later, when the contributions of other agents outside Tercerunquinto were integrated, we realized that the name had further connotations, since the work was extended and completed with the intervention of other people who are not artists. The name can be seen as a way to define collectivity.
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Installation view of “Staircase”, 2002. From the series Dwelling Houses
Reinstalled for "Tercerunquinto: Obra Inconclusa", Museo / Fundación Amparo, Puebla, Mexico, 2018
cur. Cuauhtémoc Medina and Taiyana Pimentel
Courtesy of the artists and Proyectos Monclova, Mexico City
Tercerunquinto: Basically, the name directs one to think of an integer or a whole divided into several parts, although only one of them is named: the 3rd out of 5. For us, the name was a way to recognize ourselves as a collective, as part of a dynamic entity that was never totally complete and in which the involvement of each of its members changed with each work. Even later, when the contributions of other agents outside Tercerunquinto were integrated, we realized that the name had further connotations, since the work was extended and completed with the intervention of other people who are not artists. The name can be seen as a way to define collectivity.
Installation view of “Staircase”, 2002. From the series Dwelling Houses
Reinstalled for "Tercerunquinto: Obra Inconclusa", Museo / Fundación Amparo, Puebla, Mexico, 2018
cur. Cuauhtémoc Medina and Taiyana Pimentel
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: What was your most radical project to date, in terms of scale, ambition, complexity and realization? If you could do it again, what would you change?
Tercerunquinto: It is difficult to answer this question because, although it is true that we have made ambitious and complex works, some of them quite large, none of them has had giant proportions. Another approach is to define the magnitude of these works not necessarily in terms of their physical aspects, but rather through their conceptual scope. The first three works that we produced consisted of a series of modest walls of regular size, arranged in different situations according to the inner space in which they were presented. We later became aware of the fact that these walls projected a direction outwards, towards the public space. Such a realization generated new experiences and ideas in relation to our task as artists. We thought that the expressive capacities of the construction materials (mortar and concrete blocks) always had to be employed through interventions that were trespassing the logical and functional arrangements of various spaces. This was at the beginning, when we wanted to address our context or even try to define it and, to answer your question, at the time those were very ambitious concerns and interests, at least for us.
Public sculpture in the urban periphery of Monterrey (2003-2006) was probably the first work that put us, since we first had the idea, in a very different and much more complex horizon from that of the previous works. This work forced us to review and discuss historical concepts related to art; to produce new work dynamics, such as exploring geographical areas of the city in order to have a map of the type of contexts we were interested in, and to collaborate with powerful agents to obtain the economic resources needed to produce the piece. Subsequently, when our work gain institutional acceptance, the concept of negotiation not only became pivotal, it also moved to a higher level, so to speak, since it often involved authorities and power structures outside the field of art; for instance our contribution to group exhibition Mexico: Sensitive Negotiations curated by Taiyana Pimentel in 2002 required negotiating permission to tear down the walls of an office of the Consulate General of Mexico in Miami – where the exhibition took place – with the Mexican Minister of Foreign Affairs. As to what we would change, it is very difficult to answer to that; perhaps we probably have a fairly healthy relationship with our past, we try not to punish ourselves for our mistakes or whatever we could have done differently.
Tercerunquinto: It is difficult to answer this question because, although it is true that we have made ambitious and complex works, some of them quite large, none of them has had giant proportions. Another approach is to define the magnitude of these works not necessarily in terms of their physical aspects, but rather through their conceptual scope. The first three works that we produced consisted of a series of modest walls of regular size, arranged in different situations according to the inner space in which they were presented. We later became aware of the fact that these walls projected a direction outwards, towards the public space. Such a realization generated new experiences and ideas in relation to our task as artists. We thought that the expressive capacities of the construction materials (mortar and concrete blocks) always had to be employed through interventions that were trespassing the logical and functional arrangements of various spaces. This was at the beginning, when we wanted to address our context or even try to define it and, to answer your question, at the time those were very ambitious concerns and interests, at least for us.
Public sculpture in the urban periphery of Monterrey (2003-2006) was probably the first work that put us, since we first had the idea, in a very different and much more complex horizon from that of the previous works. This work forced us to review and discuss historical concepts related to art; to produce new work dynamics, such as exploring geographical areas of the city in order to have a map of the type of contexts we were interested in, and to collaborate with powerful agents to obtain the economic resources needed to produce the piece. Subsequently, when our work gain institutional acceptance, the concept of negotiation not only became pivotal, it also moved to a higher level, so to speak, since it often involved authorities and power structures outside the field of art; for instance our contribution to group exhibition Mexico: Sensitive Negotiations curated by Taiyana Pimentel in 2002 required negotiating permission to tear down the walls of an office of the Consulate General of Mexico in Miami – where the exhibition took place – with the Mexican Minister of Foreign Affairs. As to what we would change, it is very difficult to answer to that; perhaps we probably have a fairly healthy relationship with our past, we try not to punish ourselves for our mistakes or whatever we could have done differently.
Tercerunquinto, “Integration of the Consulate General of Mexico in Miami to the Exhibition”
MEXICO: SENSITIVE NEGOTIATIONS, 2002
Photo documentation of the action at the Consulate General of Mexico, Miami
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: The physical dimensions of your works can drastically shift, from small gestures to monumental interventions; yet, the metaphysical dimension of your work seems to align, would you agree? Could you talk about two projects diametrically different in terms of physical dimensions but similar in terms of their metaphysical dimension?
Tercerunquinto: Dismantling and Relocation of the National Emblem (2008) possesses a very complex monumentality since, beside its size, this emblem – together with the Mexican national anthem and flag – is jealously guarded by the army. As you can imagine, the negotiations we had to go through to complete this work were huge. However, the fact that we were dealing with the Tlatelolco University Cultural Center – whose building is the former headquarters of the Ministry of Foreign Affairs but now part of UNAM – facilitated our work and made it achievable. Still, to avoid controversies, the official justification for the removal of the six marble slabs that make the emblem was the need for restoration, rather than to create a work of art. We accepted such a compromise in order to succeed in our desire to challenge such a loaded site, one that has strong connection to the massacre of students in 1968.
Tercerunquinto: Dismantling and Relocation of the National Emblem (2008) possesses a very complex monumentality since, beside its size, this emblem – together with the Mexican national anthem and flag – is jealously guarded by the army. As you can imagine, the negotiations we had to go through to complete this work were huge. However, the fact that we were dealing with the Tlatelolco University Cultural Center – whose building is the former headquarters of the Ministry of Foreign Affairs but now part of UNAM – facilitated our work and made it achievable. Still, to avoid controversies, the official justification for the removal of the six marble slabs that make the emblem was the need for restoration, rather than to create a work of art. We accepted such a compromise in order to succeed in our desire to challenge such a loaded site, one that has strong connection to the massacre of students in 1968.
Tercerunquinto, “Dismantling and Relocation of the National Emblem”, 2008
Photo documentation of the action on the façade of the Ministry of Foreign Affairs’ former building, Mexico City
Courtesy of the artists and Proyectos Monclova, Mexico City
On the other hand, the production of Manual Transcription of the Federal District’s Penal Code of 1967 (2011) required an intimate relationship with a prisoner who, produced a single edition handmade book, which we then decided to donate to the General Archive of the Nation, which is actually located on the site of the former prison of Lecumberri, a place where he had spent the first years of his sentence. In our view, both these projects broach tremendous failings of the Mexican State.
Tercerunquinto, “Manual Transcription of the Federal District’s Penal Code of 1967”, 2011
Manual transcription made by an inmate in the Santa Martha Acatitla prison, variable dimensions (depends of the space to install every single sheet)
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: Murals are often associated with Mexican art and its visual culture; your works often employ walls, either as conceptual installations or surfaces for murals, cutouts, etc. Can you elaborate on this connection?
Tercerunquinto: This connection was not there in 2000 when we first discussed the idea of producing Restoration of a Mural Painting (2009-16). At that time, we had not integrated the condition that this work should be done by professional restorers and conservators dealing with artistic heritage; they were a series of street pictorial gestures: we would repaint some political campaign paintings – ‘consigned’ to the public space – which we found on our road trips or in the city itself. At that time there was political and social upheaval, to the extent that we began to seriously think of the likelihood of a change of regime, after having been governed by the same party for seventy years.
The connection you mention took place ten years later. By that time we had already decided that the restoration work should be carried out by a professional restoration team. We had already come up with the idea of confronting the great Mexican artistic legacy of Muralism with the ideas of this project. In addition, when we were asked to produce the project and exhibit it in the old house of David Alfaro Siqueiros, converted at the time into the Sala de Arte Público Siqueiros, we saw very fortunate and pertinent circumstances allowing us to discuss two different conceptions of Muralism. We do not rule out the fact that this was a provocation. All this said, we are interested in walls probably because they are used to insert many desires and failed projects in the public space: those that come from commercial and political advertising as well as the artistic legacy of Muralism. They are documents and themselves constitute an interesting kind of national archive.
Tercerunquinto: This connection was not there in 2000 when we first discussed the idea of producing Restoration of a Mural Painting (2009-16). At that time, we had not integrated the condition that this work should be done by professional restorers and conservators dealing with artistic heritage; they were a series of street pictorial gestures: we would repaint some political campaign paintings – ‘consigned’ to the public space – which we found on our road trips or in the city itself. At that time there was political and social upheaval, to the extent that we began to seriously think of the likelihood of a change of regime, after having been governed by the same party for seventy years.
The connection you mention took place ten years later. By that time we had already decided that the restoration work should be carried out by a professional restoration team. We had already come up with the idea of confronting the great Mexican artistic legacy of Muralism with the ideas of this project. In addition, when we were asked to produce the project and exhibit it in the old house of David Alfaro Siqueiros, converted at the time into the Sala de Arte Público Siqueiros, we saw very fortunate and pertinent circumstances allowing us to discuss two different conceptions of Muralism. We do not rule out the fact that this was a provocation. All this said, we are interested in walls probably because they are used to insert many desires and failed projects in the public space: those that come from commercial and political advertising as well as the artistic legacy of Muralism. They are documents and themselves constitute an interesting kind of national archive.
Tercerunquinto, “Restoration of a Mural Painting”, 2009-2016
Photo documentation of the action at San Andres Cacaloapan, Puebla (Mexico)
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: Some of your works, like Public Sculpture in the Urban Periphery of Monterrey, appropriate the language of Land Art, especially how photography has been used to document works, for example with European artists such as Richard Long or Hamish Fulton. Would you agree? Was such a contradiction of terms – Land Art being related to nature, to the outside – a purposeful decision?
Tercerunquinto: It is interesting how from the beginning there were various readings of this work in the light of ideas that came from Minimal and Land Art, or those of Relational Aesthetics. Honestly, although we had always been interested in minimalist sculptural practices, they did not determine our process of work. It was something simpler: taking as a point of departure the basic idea in the “figure-background” drawing, we wanted to move it to the more complex level of “sculpture-context.” Thereby we introduced a fundamental element as a sign of urbanism (and probably of urbanity) such as concrete, in a context that lacked the basic public services such as paved roads, lighting, etc. There, where nobody is concerned about art (why should they be?) we decided to develop our ideas on art, specifically on public sculpture.
Tercerunquinto: It is interesting how from the beginning there were various readings of this work in the light of ideas that came from Minimal and Land Art, or those of Relational Aesthetics. Honestly, although we had always been interested in minimalist sculptural practices, they did not determine our process of work. It was something simpler: taking as a point of departure the basic idea in the “figure-background” drawing, we wanted to move it to the more complex level of “sculpture-context.” Thereby we introduced a fundamental element as a sign of urbanism (and probably of urbanity) such as concrete, in a context that lacked the basic public services such as paved roads, lighting, etc. There, where nobody is concerned about art (why should they be?) we decided to develop our ideas on art, specifically on public sculpture.
Tercerunquinto, “Public sculpture on the urban periphery of Monterrey”, 2003-2006
Photo documentation of an intervention in a peripheral neighborhood of Monterrey (Mexico)
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: Can you speak of your work Vendedor de flores (2014)? Is it connected to the work of Mexican artist and muralist Diego Rivera, who made a painting of a female flower vendor [Vendedora de flores, 1949]?
Tercerunquinto: This is a strange coincidence. We never had Diego Rivera in mind when we were discussing the ideas; in fact we kind of laughed when we became aware of the coincidence! Moreover, and far from wanting to create controversy, we must clarify that the folkloric character in Rivera’s painting could not be further away from the ideas we were working on in our project. Our aim is to illustrate the possible distances that exist between a cultural institution – a museum, a gallery, an art center – the cultural, political and economic power they retain and their respective audience. The activation of these agents (a museum, a collection, and a street flower vendor) in Bochum was meant to generate discussions about how distances can vary depending on the audience. This is what is traditionally referred to as institutional critique, which we adopted and twisted into “institutional negotiation.”
Tercerunquinto: This is a strange coincidence. We never had Diego Rivera in mind when we were discussing the ideas; in fact we kind of laughed when we became aware of the coincidence! Moreover, and far from wanting to create controversy, we must clarify that the folkloric character in Rivera’s painting could not be further away from the ideas we were working on in our project. Our aim is to illustrate the possible distances that exist between a cultural institution – a museum, a gallery, an art center – the cultural, political and economic power they retain and their respective audience. The activation of these agents (a museum, a collection, and a street flower vendor) in Bochum was meant to generate discussions about how distances can vary depending on the audience. This is what is traditionally referred to as institutional critique, which we adopted and twisted into “institutional negotiation.”
Tercerunquinto, “Vendedor de flores”, 2014
Photo documentation of the action at Kunstmuseum Bochum (Germany), Museo Amparo, Puebla (Mexico) and CCA Tel Aviv-Yafo.
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: You are represented by two galleries, one in Mexico City, Proyectos Monclova, and one in Zurich, Galerie Peter Kilchmann. Although Kilchmann is truly connected to Latin America and specifically Mexico, one cannot think of two more different places than Mexico and Switzerland. Have you ever presented the same work in both galleries? What were the respective reactions? More generally speaking, how do you see your work being translated (or misunderstood) according to the culture and language of the place in which it is displayed?
Tercerunquinto: A very interesting and punctual question. It has happened that the same work has been exhibited in both galleries. We have noticed the difference in perspectives especially when we exhibit a work produced in Mexico that contains ideas and reflections from a Mexican context. It is interesting how, after about forty years of globalization, during which art has served as a cutting-edge mechanism to bridge boundaries, one still perceives such different reactions from showing the same work in two contexts as different as you mention. It seems that in reality some of us have globalized more than others! That’s why, considering the fact that globalization has been a profitable project for some, and a devastating one for others, people are already talking about a post-globalization era.
Tercerunquinto: A very interesting and punctual question. It has happened that the same work has been exhibited in both galleries. We have noticed the difference in perspectives especially when we exhibit a work produced in Mexico that contains ideas and reflections from a Mexican context. It is interesting how, after about forty years of globalization, during which art has served as a cutting-edge mechanism to bridge boundaries, one still perceives such different reactions from showing the same work in two contexts as different as you mention. It seems that in reality some of us have globalized more than others! That’s why, considering the fact that globalization has been a profitable project for some, and a devastating one for others, people are already talking about a post-globalization era.
Courtesy of the artists and Proyectos Monclova
Photo credit: DOS estudio (Rodrigo Viñas / Patrick López Jaimes)
Tercerunquinto, “Historia Breve de la Construcción”, 2022
Cinder blocks, bricks and clay blocks, installation view at Centro Cultural Juan Beckmann Gallardo, Santiago de Tequila (Mexico)
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: Can you talk about the role documents play in your practice?
Tercerunquinto: The way we document our work has had several phases. Originally, during our first four or five years, we were basically interested in doing sculptural-architectural interventions on site, in which we actively participated. We would take some photographs, some videos and then this material would go to some boxes of files; sometimes we would print some photos, although without any clear vision. Then, when we started to be invited to exhibit documentation of these early works, this topic became a matter of discussion. The first few times we did it very literally, showing a series of images that seemed more like pieces of evidence, with the aim to register something we had done. Then we realized that this method was leaving out the much richer and more abstract ideas of our work. We therefore moved to a new phase of documentation where it no longer had anything to do with the original site where the work had happened. It had other potentialities and most importantly, it made us realize the difference between “people” and “audience.” When we work on site, outside of the institution, we don’t think about audiences, but about people; an important epistemic difference.
NT: Do you consider exhibition making, as a form and format, an essential aspect of the way you work, beyond sculpture, beyond installation, beyond site-specific intervention? Taking from that, what is the most appropriate site for your practice to materialize?
Tercerunquinto: We love all the complexity that can be built between these concepts that you mention. With the passing of time we have realized that all the tensions with historical concepts of art, conceptual, institutional, contemporary, intellectual, commercial and so on, have helped us to reach clarity, realizing that our work has been precisely to think, exist and survive in the midst of these tensions.
Tercerunquinto: The way we document our work has had several phases. Originally, during our first four or five years, we were basically interested in doing sculptural-architectural interventions on site, in which we actively participated. We would take some photographs, some videos and then this material would go to some boxes of files; sometimes we would print some photos, although without any clear vision. Then, when we started to be invited to exhibit documentation of these early works, this topic became a matter of discussion. The first few times we did it very literally, showing a series of images that seemed more like pieces of evidence, with the aim to register something we had done. Then we realized that this method was leaving out the much richer and more abstract ideas of our work. We therefore moved to a new phase of documentation where it no longer had anything to do with the original site where the work had happened. It had other potentialities and most importantly, it made us realize the difference between “people” and “audience.” When we work on site, outside of the institution, we don’t think about audiences, but about people; an important epistemic difference.
NT: Do you consider exhibition making, as a form and format, an essential aspect of the way you work, beyond sculpture, beyond installation, beyond site-specific intervention? Taking from that, what is the most appropriate site for your practice to materialize?
Tercerunquinto: We love all the complexity that can be built between these concepts that you mention. With the passing of time we have realized that all the tensions with historical concepts of art, conceptual, institutional, contemporary, intellectual, commercial and so on, have helped us to reach clarity, realizing that our work has been precisely to think, exist and survive in the midst of these tensions.
Tercerunquinto, “Alphabet”, 2023
Digital images, variable dimensions
Courtesy of the artists and Proyectos Monclova, Mexico City
NT: Can you share what you have been working on recently, and any future projects?
Tercerunquinto: We are currently working on a series of artworks for an exhibition in Tequila, Jalisco, where we will also present a box design for the Reserva de la Familia 2023 edition of the company José Cuervo. The exhibition, entitled “Landscape: Figure and Abstraction,” has to do with the notion of landscape. While avoiding a romanticized view of Tequila, we are focused on how technological modernity has caused changes in the landscape, and are continuing to use our “materials”: concrete, mortar and other types of building materials.
In addition, we are working on two new series related to the dynamics of public spaces that were lost during the pandemic. We are surveying, through photography, the kind of monuments that have been subjected to political scrutiny in the last few years. This work does not have a title yet. Furthermore, echoing our work Gramática de la tristeza (2017), we are going back to appropriation of graffiti with the idea of creating a new work called Alphabet, a new typeface featuring a collection of letters from text anonymously written on walls. A prototype design is ready, although we are sure that this is not the end, considering the huge amount of material we have.
Tercerunquinto: We are currently working on a series of artworks for an exhibition in Tequila, Jalisco, where we will also present a box design for the Reserva de la Familia 2023 edition of the company José Cuervo. The exhibition, entitled “Landscape: Figure and Abstraction,” has to do with the notion of landscape. While avoiding a romanticized view of Tequila, we are focused on how technological modernity has caused changes in the landscape, and are continuing to use our “materials”: concrete, mortar and other types of building materials.
In addition, we are working on two new series related to the dynamics of public spaces that were lost during the pandemic. We are surveying, through photography, the kind of monuments that have been subjected to political scrutiny in the last few years. This work does not have a title yet. Furthermore, echoing our work Gramática de la tristeza (2017), we are going back to appropriation of graffiti with the idea of creating a new work called Alphabet, a new typeface featuring a collection of letters from text anonymously written on walls. A prototype design is ready, although we are sure that this is not the end, considering the huge amount of material we have.
N E W M E D I A
The Future
and their Future
An Interview with Raqs Media Collective
Written by Nicola Trezzi
Raqs Media Collective, “A Day in the Life of Kiribati”, 2014
Clock, nameplate, tape
Asamayavali/Untimely Calendar, National Gallery of Modern Art (NGMA), New Delhi (2014)
Clock, nameplate, tape
Asamayavali/Untimely Calendar, National Gallery of Modern Art (NGMA), New Delhi (2014)
Multidisciplinary, intellectual, open and yet deeply rooted in complex ways of thinking, acting and responding to the fabric of reality, the practice of Raqs Media Collective represents a unique phenomenon in the field of contemporary visual art, one in which “the visual” becomes an expanded field, encompassing cinema, philosophy and science. Nicola Trezzi interviewed the Collective about their practice, how they categorize it, their connection to India – their place of origin and continued base of operation – and about the future and their future.
Nicola Trezzi: The word “Raqs” defines the state of ecstasy attained by whirling dervishes. It is the same word in Persian, Arabic and Urdu, a fact that generates a lot of intercultural reflections. On the other hand RAQs could also stand for the abbreviation of Rarely Asked Questions, which echoes the Internet and its functional jargon. How did you come up with this name? Which one of these two completely different associations came first?
Raqs Media Collective: The name came to us during a conversation over noodle soup in front of a Chinese food truck next to a petrol pump near the Sufi shrine of Hazrat Nizamuddin in Central Delhi, in the fall of the year 1992. We had just been to the shrine, and watched an old man, whirl, like a dervish, in its courtyard. His kinetic intensity, and energy, was riveting, as was the tranquility of his countenance. That state of kinetic fullness experienced in the entirety of the turning body is called raqs in Arabic. Even the earth performs its ‘raqs’ on its axis. We spent some time talking to each other about the relationship between restlessness and contemplation, and it seemed to resonate with the state of mind we found ourselves in while we stayed in and out of conversation with each other, and with the world. That state of restlessness, its energy, and the contemplative ecstasy it can bring to mind hasn’t left us. The name came distilled with many associations: a comfort with restlessness, a curiosity to see what happens when that restlessness takes on a collective dimension, when you have three body-minds spinning, colliding, drifting, and then being wound up again. A name is also needed when you make a collective bank account! Some years later, when we were beginning to get interested in the argot of computer speak, a friend told us how RAQS (rarely asked questions), the opposite of FAQS (frequently asked questions), were sometimes tagged on to software usage manuals. The idea of being a “RAQS depository” was appealing. We have an instruction-based performance work titled The Bureau of Raqs & Faqs in which the Bureau of Faqs is always ‘out to lunch’ while at the Bureau of Raqs you get to invent questions for already given answers.
Raqs Media Collective: The name came to us during a conversation over noodle soup in front of a Chinese food truck next to a petrol pump near the Sufi shrine of Hazrat Nizamuddin in Central Delhi, in the fall of the year 1992. We had just been to the shrine, and watched an old man, whirl, like a dervish, in its courtyard. His kinetic intensity, and energy, was riveting, as was the tranquility of his countenance. That state of kinetic fullness experienced in the entirety of the turning body is called raqs in Arabic. Even the earth performs its ‘raqs’ on its axis. We spent some time talking to each other about the relationship between restlessness and contemplation, and it seemed to resonate with the state of mind we found ourselves in while we stayed in and out of conversation with each other, and with the world. That state of restlessness, its energy, and the contemplative ecstasy it can bring to mind hasn’t left us. The name came distilled with many associations: a comfort with restlessness, a curiosity to see what happens when that restlessness takes on a collective dimension, when you have three body-minds spinning, colliding, drifting, and then being wound up again. A name is also needed when you make a collective bank account! Some years later, when we were beginning to get interested in the argot of computer speak, a friend told us how RAQS (rarely asked questions), the opposite of FAQS (frequently asked questions), were sometimes tagged on to software usage manuals. The idea of being a “RAQS depository” was appealing. We have an instruction-based performance work titled The Bureau of Raqs & Faqs in which the Bureau of Faqs is always ‘out to lunch’ while at the Bureau of Raqs you get to invent questions for already given answers.
Raqs Media Collective, “Bureau of Raqs and Faqs”, 2015
Found furniture, index cards, words, plaques, electronic word displays, text and a scenario
Museo Universitario Arte Contemporaneo (MUAC), Mexico City (2015)
NT: Linking your work to a broader category of artists, or “artist/s” as I define this ‘breed’, it seems that through the act of creating such a name – and to Raqs we should also add “Media Collective” – you distance yourself from two main “pillars” of art making in relationship to authorship: the first one is about giving up the idea of the artist as a singularity, which has been an assumption since, roughly, the Renaissance; the second one sees a direct relationship between the practice of the artist/s and the signature of the artist/s, in which usually, although there are few historical examples like Valie Export, the signature always gives details about the identity of an artist and never about the practice of an artist. Was it a conscious decision? Can you share insights in this regard?
Raqs: Our early sense of collective self is tied to the formation we had in the milieu of documentary film practitioners in the early 1990s. That milieu, unlike art house cinema or the visual arts or literary formations, was not too concerned with signature and oeuvre. The discussion was about ethics, the nature of the flux that got termed “real,” an international traffic of themes, political contingencies and infrastructures refracting on to documentary practice, insurgent worlds and words and then the counter-insurgencies of domination that surrounded the making of the documentary image. For us, the documentary image was always contested and this shaped our thinking. To us, “practice” conjures a contentious field of how to be operative with an alertness to the present. Practice was a site of intense theoretical debate too, and friendships were put to the test through these questionings. In this sense, we argue about ourselves as containing multitudes. And, over time, with research and reflection on the histories of authorship and signature, we have understood how unstable and contentious the solitary genius phenomenon is and how, like many fictions, it emerged from a particular time and a specific cultural-ritual formation. Its rule across time is waning.
In our partnership deed (written in November 1992), a legal-financial requirement to exist as an economic entity, we had given ourselves a purpose, and a range: “documentaries, shorts and features of varying length on film and video, and other works…”; at that time, we did not have a clear idea of what these other works would, or even could, be. However, our understanding of the term media was capacious enough, even then, so as to leave room for “other works” and even how they would work, was in the realm of the unknown. In this sense, both “media” and “practice” are words in anticipation for the intermediaries that they become, as our thoughts and our conversations travel across, between, and through different media.
Raqs: Our early sense of collective self is tied to the formation we had in the milieu of documentary film practitioners in the early 1990s. That milieu, unlike art house cinema or the visual arts or literary formations, was not too concerned with signature and oeuvre. The discussion was about ethics, the nature of the flux that got termed “real,” an international traffic of themes, political contingencies and infrastructures refracting on to documentary practice, insurgent worlds and words and then the counter-insurgencies of domination that surrounded the making of the documentary image. For us, the documentary image was always contested and this shaped our thinking. To us, “practice” conjures a contentious field of how to be operative with an alertness to the present. Practice was a site of intense theoretical debate too, and friendships were put to the test through these questionings. In this sense, we argue about ourselves as containing multitudes. And, over time, with research and reflection on the histories of authorship and signature, we have understood how unstable and contentious the solitary genius phenomenon is and how, like many fictions, it emerged from a particular time and a specific cultural-ritual formation. Its rule across time is waning.
In our partnership deed (written in November 1992), a legal-financial requirement to exist as an economic entity, we had given ourselves a purpose, and a range: “documentaries, shorts and features of varying length on film and video, and other works…”; at that time, we did not have a clear idea of what these other works would, or even could, be. However, our understanding of the term media was capacious enough, even then, so as to leave room for “other works” and even how they would work, was in the realm of the unknown. In this sense, both “media” and “practice” are words in anticipation for the intermediaries that they become, as our thoughts and our conversations travel across, between, and through different media.
Raqs Media Collective, “Tears (are not only from weeping)”, 2021
Video loop, LED Panel
Laughter of Tears, Kunstverein Braunschweig, Germany (2021)
NT: Thinking about all these categories, terms and denominations, it would be interesting to hear how the context of India and its related art scene influenced all the aforementioned. It seems to me that what you do and the way you do it represents a unique case, at least in the field of art (not in the field of research, or science.) Would you agree with that? What was the reaction of the Indian artistic community when Raqs Media Collective emerged?
Raqs: At the time when we emerged as a practice, there were attempts by other documentary filmmakers to work as collectives. The notion was not entirely alien. But the idea of collective practice in contemporary art, when we entered that world in the early aughts, was decidedly alien. There had been “movements” – formations in which different individual artists shared common ground based on some understanding, ideology, or sense of being that they held in common and asserted in public life. A “movement” works through a high-intensity coming together of individuals, their works, their stances, their positions. Our sense of who we were, or are, was and still is, completely different. In our case, the work of art happens at the intersection of our wills and a graded intensity of living. Our first major art work in this sense was the making of Sarai, in collaboration with an urbanist and a film historian. Sarai was an adventure in how to think across practices and disciplines, and how to be in public life all the time. With and through Sarai we understood that work gets created through a process of collision and distillation of wills cathected to each other. Sarai hosted many fellowships and discussions, supported exhibitions and published artist writings. But we were not seen as artists. The collective entity of media practitioners that called itself Raqs, triggered hesitations in acknowledging whether its work legitimately fell within the rubric of art. People kept looking for a biography, a self-ethnography, a turn within art historical legibility, or, in short, a signature. There was also some hostility, as our trajectory was not from an art school but from film. Over the last two decades, though, much has changed. We are seen now as occasional transgressors or experimenters, and less as trespassers. The enthusiasm for many of the initiatives that we have since worked on lies hugely with younger artists, and they participate in and enjoy such moves. The last two decades have seen a seismic change in the terms of engagement within contemporary art here. And the biggest transformation from the early 2000s is that there are so many more artists today representing themselves as collectives. This is true for both here, as well as everywhere else. Something in the air has certainly shifted.
Raqs: At the time when we emerged as a practice, there were attempts by other documentary filmmakers to work as collectives. The notion was not entirely alien. But the idea of collective practice in contemporary art, when we entered that world in the early aughts, was decidedly alien. There had been “movements” – formations in which different individual artists shared common ground based on some understanding, ideology, or sense of being that they held in common and asserted in public life. A “movement” works through a high-intensity coming together of individuals, their works, their stances, their positions. Our sense of who we were, or are, was and still is, completely different. In our case, the work of art happens at the intersection of our wills and a graded intensity of living. Our first major art work in this sense was the making of Sarai, in collaboration with an urbanist and a film historian. Sarai was an adventure in how to think across practices and disciplines, and how to be in public life all the time. With and through Sarai we understood that work gets created through a process of collision and distillation of wills cathected to each other. Sarai hosted many fellowships and discussions, supported exhibitions and published artist writings. But we were not seen as artists. The collective entity of media practitioners that called itself Raqs, triggered hesitations in acknowledging whether its work legitimately fell within the rubric of art. People kept looking for a biography, a self-ethnography, a turn within art historical legibility, or, in short, a signature. There was also some hostility, as our trajectory was not from an art school but from film. Over the last two decades, though, much has changed. We are seen now as occasional transgressors or experimenters, and less as trespassers. The enthusiasm for many of the initiatives that we have since worked on lies hugely with younger artists, and they participate in and enjoy such moves. The last two decades have seen a seismic change in the terms of engagement within contemporary art here. And the biggest transformation from the early 2000s is that there are so many more artists today representing themselves as collectives. This is true for both here, as well as everywhere else. Something in the air has certainly shifted.
Raqs Media Collective, “Dohas for Doha”, 2019
Five Videos, LED screens, variable dimensions
Still More World, Mathaf Arab Museum of Modern Art, Doha (2019)
NT: Before we go into specific projects, I would like you to tell us how you came up with the following three categories: “practice,” “para-practice,” and “infra-practice.” What goes where? Can you name a project that would fit two of them or even all of them?
Raqs: Over the last two decades we have had incredibly dense associative engagements. We needed to bring this into conceptual focus. Associative engagements are relegated to the background of an event in the way artistic practices usually get narrated. We wanted to bring into view that a zone of extension of the very ground of our practice is driven by associative alignments and affinities. With the prefixes “para” and “infra” we are able to situate a positional movement. The word “para” gestures to a relationship to that which stands beside, or at a tangent to. “Para-practices” are the writings that we do and conversations that we enter into, alongside. It could be the making of a Sourcebook for staging public discursive moments for a plural-knowledge world, or a Curation encapsulating a processual duration along with so many others to re-apprehend the world, or a Studio with students to reimagine the power of margins or thresholds. “Infra” is often glossed as ‘below’ a threshold. In this aspect, we would say that we might be the ones in conversation with or we might have initiated or instigated a process, but we see the authorial impulse as being distributed; as a matter of fact, it may not even coalesce into an entity. Here our practice folds with and within other practices, develops a flow that is in dialogue, yet keeps moving with its own momentum. The associative density that these practices acquire over long periods is unscripted. A cursory glance at the Sarai Readers (01 to 09) over a decade will show how they attracted authors and artists from so many parts of the world, from inner cities to insulated laboratories, from hospital Intensive Care Units to the raging fields of protests. This sediment is what propels the world around us. Practice is the “daily work” (work as verb) of art. It represents the sum of all the moves – practical, conceptual, affective, cognitive, philosophical, analytical and aesthetic – that occupies/de-occupies the state of our collective triangulation at any given point of time. Being contingent, this practice is a shape-shifting thing, prone to surprising itself as much as it surprises others. Like a mycelial inhabitation, indeterminate and unbounded, it expands.
Raqs: Over the last two decades we have had incredibly dense associative engagements. We needed to bring this into conceptual focus. Associative engagements are relegated to the background of an event in the way artistic practices usually get narrated. We wanted to bring into view that a zone of extension of the very ground of our practice is driven by associative alignments and affinities. With the prefixes “para” and “infra” we are able to situate a positional movement. The word “para” gestures to a relationship to that which stands beside, or at a tangent to. “Para-practices” are the writings that we do and conversations that we enter into, alongside. It could be the making of a Sourcebook for staging public discursive moments for a plural-knowledge world, or a Curation encapsulating a processual duration along with so many others to re-apprehend the world, or a Studio with students to reimagine the power of margins or thresholds. “Infra” is often glossed as ‘below’ a threshold. In this aspect, we would say that we might be the ones in conversation with or we might have initiated or instigated a process, but we see the authorial impulse as being distributed; as a matter of fact, it may not even coalesce into an entity. Here our practice folds with and within other practices, develops a flow that is in dialogue, yet keeps moving with its own momentum. The associative density that these practices acquire over long periods is unscripted. A cursory glance at the Sarai Readers (01 to 09) over a decade will show how they attracted authors and artists from so many parts of the world, from inner cities to insulated laboratories, from hospital Intensive Care Units to the raging fields of protests. This sediment is what propels the world around us. Practice is the “daily work” (work as verb) of art. It represents the sum of all the moves – practical, conceptual, affective, cognitive, philosophical, analytical and aesthetic – that occupies/de-occupies the state of our collective triangulation at any given point of time. Being contingent, this practice is a shape-shifting thing, prone to surprising itself as much as it surprises others. Like a mycelial inhabitation, indeterminate and unbounded, it expands.
Raqs Media Collective, “Escapement”, 2009
Installation with 27 clocks, high glass aluminium with LED lights, four flat screen monitors, video and audio looped, dimensions variable
Frith Street Gallery, London (2009)
NT: Speaking of your practice, I would like to hear about two of your most iconic works: Marks (2011) and Escapement (2009); while the first playfully engages with the sign of communism – the hammer and sickle – and the author of Capital – Karl Marx –, the second brings together time and feelings; on one hand, time seems to be the most objective notion ever conceived by humankind; on the other hand, feelings are the most difficult to define; and yet your work ultimately argues that this is true and yet its opposite is also true. Can you tell us how these works came into being?
Raqs: Marks riffs off the hammer and sickle sign that we have seen scrawled and painted on the walls of our cities since childhood, and condenses a relationship to the signs that we have inherited in – literally – a burst of light and reflection. The reversed question mark, and the inverted exclamation, seem to us to suggest attitudes that require us to ask questions of questions, and register a pause to consider a moment of extraordinary awareness (the reason for exclamation) with a degree of affectionate irony. The intersection of these two attitudes, which marry affect to doubt, affection to questioning, are ways of approaching the legacies we have inherited. As for Escapement, it stems from our ongoing dialogue with the figure of time. Escapement invokes clockwork, emotions, geography, fantasy and time zones to ask what is contemporaneity – what does it mean to be living in these times, in these quickening hours, these accumulating minutes, these multiplying seconds, here, now? Escapement is a horological, or clockmaking term. It denotes the mechanism in mechanical watches and clocks that governs the regular motion of the hands through a “catch and release” device that both releases and restrains the levers that move the hands for hours, minutes and seconds. Like the catch and release of the valves of the heart, allowing for the flow of blood between the chambers of the heart, which sets up the basic rhythm of life, the escapement of a watch regulates our sense of the flow of time. The continued pulsation of our hearts, and the ticking of a clock, denote our liberty from an eternal present.
With each heartbeat, with each passing second, they mark the here and now, promise the future and remember the resonance of the heartbeat that just ended. It is our heart that tells us that we live in time.
Raqs: Marks riffs off the hammer and sickle sign that we have seen scrawled and painted on the walls of our cities since childhood, and condenses a relationship to the signs that we have inherited in – literally – a burst of light and reflection. The reversed question mark, and the inverted exclamation, seem to us to suggest attitudes that require us to ask questions of questions, and register a pause to consider a moment of extraordinary awareness (the reason for exclamation) with a degree of affectionate irony. The intersection of these two attitudes, which marry affect to doubt, affection to questioning, are ways of approaching the legacies we have inherited. As for Escapement, it stems from our ongoing dialogue with the figure of time. Escapement invokes clockwork, emotions, geography, fantasy and time zones to ask what is contemporaneity – what does it mean to be living in these times, in these quickening hours, these accumulating minutes, these multiplying seconds, here, now? Escapement is a horological, or clockmaking term. It denotes the mechanism in mechanical watches and clocks that governs the regular motion of the hands through a “catch and release” device that both releases and restrains the levers that move the hands for hours, minutes and seconds. Like the catch and release of the valves of the heart, allowing for the flow of blood between the chambers of the heart, which sets up the basic rhythm of life, the escapement of a watch regulates our sense of the flow of time. The continued pulsation of our hearts, and the ticking of a clock, denote our liberty from an eternal present.
With each heartbeat, with each passing second, they mark the here and now, promise the future and remember the resonance of the heartbeat that just ended. It is our heart that tells us that we live in time.
Raqs Media Collective, “Marks”, 2011
Acrylic, MDF, red LEDs, electrical wires, gold mylar sheet
Headquarters of French Communist Party, 2, Place du Colonel Fabien, Paris (2011); Madrid (2014); Mexico (2015); K21, Dusseldorf, Germany (2018)
NT: Another work I would like you to discuss is The Course of Love (2019), which seems to me the most interesting response to Kosuth’s seminal conceptual works; can you describe its elements and how context – the Setouchi Triennale in Honjima, Japan – influenced its creation?
Raqs: Rivers run dry if they cannot change. So it is with love. It has to irrigate a wider landscape than just what it had to run on when it began. We did not know much about Kosuth at the time when we made this work. But we did know about rivers and boats. Coming from a river valley civilization, we know something about rivers, about boats, and between our mother-tongues, Punjabi and Bengali, we think we have the best river songs and love songs. But for this work, which is sited in Japan, we found a thousand-year-old Japanese love poem that had us by the throat when we read it:
wataru funa-bito / the boatman lost the rudder.
kaji-wo tae / the boat is now adrift
yukue mo shiranu / not knowing where it goes.
koi no michi kana / is this the course of love?
– Sone-no Yoshitada (10th Century CE)
A real boat cradles an “ideal boat.” Just as a moment in life cradles a drifting idea. Love is held by the memory of love. An image is held by itself, afire. In this sculpture with found objects and lenticular fold, we play with light, the geometry of folds, and the optical properties of materials to offer a representation that is as pared down to essentials as a child’s idea of a boat. The Course of Love brings to mind everything from Yoshitada’s evocation of the course of love to the image of a boat on fire in the sea.
In some ways this work is a floating riddle. It reveals more than it conceals with its title. It evokes the childhood D-I-Y-ness of the paper boat that we have all set sail on little streams at one point or another – and by doing so, it points to both the fragility as well as the endurance of paper boats as semaphores to time. Every time you sail a paper boat, you are setting a message on an unknown course. It is more important for us that the message travels than it getting immediately deciphered. It can actually add meaning to itself as it moves, making for the possibility of denser interpretation. Becoming a floating figure of speech, a paper-boat is an instance of the invention of meaning.
Sometimes, like paper boats adrift, we talk to each other in riddles. Sometimes they are difficult, even for us to understand, until they makes sense in a flash. Like sandhya bhasha or Twilight Language, the playful, and sometimes scary language of riddles that is part of our shared cultural inheritance.
Raqs: Rivers run dry if they cannot change. So it is with love. It has to irrigate a wider landscape than just what it had to run on when it began. We did not know much about Kosuth at the time when we made this work. But we did know about rivers and boats. Coming from a river valley civilization, we know something about rivers, about boats, and between our mother-tongues, Punjabi and Bengali, we think we have the best river songs and love songs. But for this work, which is sited in Japan, we found a thousand-year-old Japanese love poem that had us by the throat when we read it:
wataru funa-bito / the boatman lost the rudder.
kaji-wo tae / the boat is now adrift
yukue mo shiranu / not knowing where it goes.
koi no michi kana / is this the course of love?
– Sone-no Yoshitada (10th Century CE)
In some ways this work is a floating riddle. It reveals more than it conceals with its title. It evokes the childhood D-I-Y-ness of the paper boat that we have all set sail on little streams at one point or another – and by doing so, it points to both the fragility as well as the endurance of paper boats as semaphores to time. Every time you sail a paper boat, you are setting a message on an unknown course. It is more important for us that the message travels than it getting immediately deciphered. It can actually add meaning to itself as it moves, making for the possibility of denser interpretation. Becoming a floating figure of speech, a paper-boat is an instance of the invention of meaning.
Sometimes, like paper boats adrift, we talk to each other in riddles. Sometimes they are difficult, even for us to understand, until they makes sense in a flash. Like sandhya bhasha or Twilight Language, the playful, and sometimes scary language of riddles that is part of our shared cultural inheritance.
Raqs Media Collective, “The Course of Love”, 2019
Sculpture using faceted lenticular panels, with Found Boat
Setouchi Triennale, Honjima, 2019
NT: Speaking about your para-practice, I would like you to give us, if possible, the ‘exegesis’ of “Fact, Facticity and the Imagination,” which, if I may say, seems to me the closest to a manifesto of what you do, believe and ultimately are as artist/s. How did you draft this text, how did you present it, what was the reaction, again in India, due to some of its content, and outside of India?
Raqs: We have never made ourselves beholden to a manifesto. Maybe that’s how we survived, because we never ‘betrayed’ our own manifesto. We never had the opportunity to do so. The absence of a manifest ensured that. Fact, Facticity and the Imagination condenses a state of our thinking, holding within it both the desire to engage in forensics and its exactitude, as well as the urge not to be contained or exhausted by it. One of our perennial concerns has been the relationship of qualities and quantities. We understand the propensity to turn every quality, everything intangible and ineffable, like a human life, into a number, as part of the arithmetic of fatality. Art admits to the uncountable, and this essay is a result of the lessons we have learnt from art while trying to understand the urge, particularly of state and state-driven systems, to count and classify everything.
The history of this text takes us back to some of our earliest concerns - the measurement of bodies, and the imperative to harvest usable facts from the measurement of bodies. The text is a meditation on the problems that arise from this endeavor. It is an argument for the worth of the immeasurable. Citizenship itself has become a function of the counting of heads, and creation of different kinds of numbers. This is a legacy of colonialism, but it has been robustly taken forward by the post-colonial state.
Raqs: We have never made ourselves beholden to a manifesto. Maybe that’s how we survived, because we never ‘betrayed’ our own manifesto. We never had the opportunity to do so. The absence of a manifest ensured that. Fact, Facticity and the Imagination condenses a state of our thinking, holding within it both the desire to engage in forensics and its exactitude, as well as the urge not to be contained or exhausted by it. One of our perennial concerns has been the relationship of qualities and quantities. We understand the propensity to turn every quality, everything intangible and ineffable, like a human life, into a number, as part of the arithmetic of fatality. Art admits to the uncountable, and this essay is a result of the lessons we have learnt from art while trying to understand the urge, particularly of state and state-driven systems, to count and classify everything.
The history of this text takes us back to some of our earliest concerns - the measurement of bodies, and the imperative to harvest usable facts from the measurement of bodies. The text is a meditation on the problems that arise from this endeavor. It is an argument for the worth of the immeasurable. Citizenship itself has become a function of the counting of heads, and creation of different kinds of numbers. This is a legacy of colonialism, but it has been robustly taken forward by the post-colonial state.
Raqs Media Collective, “Utsushimi”, 2017
Double Image / Token / Emanation Materialized Architectural Drawing in Illuminated Wireframe
Oku-Noto Triennale, Suzu City, Japan (2017 - ongoing)
The essay did not find much resonance in India when it was first published in the Documents of Contemporary Art series (published by Whitechapel) in the book Archive (published in) and in one of the volumes of the Sarai Reader. We think we were a little ahead of the public discourse on identification technologies, surveillance and the anti-democratic turn in India at the time. We were thought of as ‘techno-fetishists’ for a while, even by our liberal, not-so-liberal, and leftist friends. Things are different now: the technology of counting and surveillance is at the heart of politics in India today, as we always said it would be. That says an interesting thing about the relationship between art and politics. Sometimes artists sniff the wind quicker than others can. Now students that we encounter (and not just art students) and young people involved in dissident political currents in India keep coming up with this text as being important to their understanding of the current moment. And they have read it because they could download it, for free, from the Sarai Reader, where it had also been published. Many years after it was written and published, the text continues to have vitality today.
“In the Open or in Stealth”, 2018
Exhibition curated by Raqs Media Collective,
MACBA Museu d’Art Contemporani de Barcelona (2018-2019)
NT: Can you describe the process behind Seepage, an anthology of your texts published by Sternberg Press in 2010? Are you planning a new anthology after more than 10 years? Would you edit it or give it to someone else to edit and select?
Raqs: The essays in Seepage are about pirates and squatters, hackers and de-occupiers of factories, border-crossers and shape-shifters, about insistent pursuits that crack hard held borders and produce images, spectral or premonitory, of possible other times, another place, in anticipation of a communing for a common world. It is interspersed by 1001 invocations of the granular and ‘metastizing’ power of capital. It has texts as ideas, texts as annotations, and texts as performances. The diligent reader will discover that although printed on paper, the book is a kind of hyper-text, with different parts linking together. You can read the book backwards, forwards, or in a zig zag fashion - switching texts, switching fragments, or even opening random pages at a time and reading against or with the pagination. Seepage is at rest now. Lots of new ideas have taken new forms in new texts. We always try to make them available on our website – branching off of the ‘para-practices’ page.
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Raqs Media Collective, “Seepage”, 2010
Cover page
Stenberg Press (2010)
NT: Speaking of your infra-practice, I would like you to focus on Sarai, which you established in 2000 with faculty members of the Centre for the Study of Developing Societies (CSDS) in Delhi. This is where you channel your work as researchers. Can you speak about it?
Raqs: Sarai was a capacious urban jungle! It sprang from a simple need that we (and our friends, Ravi Sundaram and Ravi Vasudevan, both theorists, one of new media in the city, and the other, of the history of cinema) felt for a platform where, practitioners, artists, technicians, urbanists, writers, poets, activists and theorists could meet and allow themselves to be transformed by the encounters they had. In retrospect, it is difficult to find a single way of defining what we did at Sarai, except to say that we welcomed the unexpected. It enabled a new way of speaking of the urban and the media condition. Sarai’s critical intervention was to think through the question of intellectual production, its infrastructure, and the politics of threshold. The engagement was to take the authorial as a claim and not as an entitlement. Many people from varied locations articulated and argued how to create, disseminate, translate, transform, and dissent. Through a combination of online and offline modes Sarai innovated on a range of intermedial forms and enunciatory practices. Okwui Enwezor loved Sarai for its persistent practice of producing knowledge-producers, and making knowledge a site of combat. With Sarai we published nine volumes of the Sarai Reader, ran a fellowship program that brought in more than 600 practitioners, artists and researchers to initiate projects, created self-regulated media labs in working class neighborhoods in Delhi, held conferences that would found entire areas of research into the politics of technology, surveillance, intellectual property and its discontents, and actively pursued open possibilities of cultural creativity. It seems like a bit of a dream right now, but we can say that there are many energetic figures in culture, politics and media in India today who have crossed paths with Sarai. Such an initiative would be impossible to replicate in today’s context. But, hopefully, it will inspire future practitioners to shape other kinds of experiments with collectivity and publicness.
Raqs: The essays in Seepage are about pirates and squatters, hackers and de-occupiers of factories, border-crossers and shape-shifters, about insistent pursuits that crack hard held borders and produce images, spectral or premonitory, of possible other times, another place, in anticipation of a communing for a common world. It is interspersed by 1001 invocations of the granular and ‘metastizing’ power of capital. It has texts as ideas, texts as annotations, and texts as performances. The diligent reader will discover that although printed on paper, the book is a kind of hyper-text, with different parts linking together. You can read the book backwards, forwards, or in a zig zag fashion - switching texts, switching fragments, or even opening random pages at a time and reading against or with the pagination. Seepage is at rest now. Lots of new ideas have taken new forms in new texts. We always try to make them available on our website – branching off of the ‘para-practices’ page.
Raqs Media Collective, “Seepage”, 2010
Cover page
Stenberg Press (2010)
NT: Speaking of your infra-practice, I would like you to focus on Sarai, which you established in 2000 with faculty members of the Centre for the Study of Developing Societies (CSDS) in Delhi. This is where you channel your work as researchers. Can you speak about it?
Raqs: Sarai was a capacious urban jungle! It sprang from a simple need that we (and our friends, Ravi Sundaram and Ravi Vasudevan, both theorists, one of new media in the city, and the other, of the history of cinema) felt for a platform where, practitioners, artists, technicians, urbanists, writers, poets, activists and theorists could meet and allow themselves to be transformed by the encounters they had. In retrospect, it is difficult to find a single way of defining what we did at Sarai, except to say that we welcomed the unexpected. It enabled a new way of speaking of the urban and the media condition. Sarai’s critical intervention was to think through the question of intellectual production, its infrastructure, and the politics of threshold. The engagement was to take the authorial as a claim and not as an entitlement. Many people from varied locations articulated and argued how to create, disseminate, translate, transform, and dissent. Through a combination of online and offline modes Sarai innovated on a range of intermedial forms and enunciatory practices. Okwui Enwezor loved Sarai for its persistent practice of producing knowledge-producers, and making knowledge a site of combat. With Sarai we published nine volumes of the Sarai Reader, ran a fellowship program that brought in more than 600 practitioners, artists and researchers to initiate projects, created self-regulated media labs in working class neighborhoods in Delhi, held conferences that would found entire areas of research into the politics of technology, surveillance, intellectual property and its discontents, and actively pursued open possibilities of cultural creativity. It seems like a bit of a dream right now, but we can say that there are many energetic figures in culture, politics and media in India today who have crossed paths with Sarai. Such an initiative would be impossible to replicate in today’s context. But, hopefully, it will inspire future practitioners to shape other kinds of experiments with collectivity and publicness.
Yokohama Triennale 2020, Artistic Directors: Raqs Media Collective
Artwork by Nick Cave, “Kinetic Spinner”, 2016
Photo by Otsuka Keita
NT: Until now we discussed artmaking, writing and researching and now I would like you to hear how you engage with exhibition making (a term I prefer over “curating”); can you speak about how you exhibit the work of other artists? What is your approach, considering that you are most of the time “on the other side” (being invited to exhibit)? Would you organize an exhibition for one single artist? Who would this artist be? Within the context of group exhibitions: Do you prefer to commission new works or select existing works? Can you say a few words about your project for Manifesta?
Raqs: On the occasion of “Manifesta,” we were given an abandoned aluminum factory to work in. And this prompted us to think about the ‘residue’ of industrial production – what gets left behind. This is the ‘rest’, the ‘remainder’, the ‘dregs’ of capital. But the word ‘rest’ can also mean a moment of pause, and recuperation of that which is left behind. We played with both senses of the word to come up with the idea of “the rest of now,” which also became the title of the exhibition. When making exhibitions, it could be said that we work like detectives, building a ‘case’ from the clues and traces we find. Our invitation to the artists we want to work with is a proposal to join us in this process. To make discoveries, parallel to ours. The exhibition is a diagram that holds the image of these processes in play. We want exhibitions, especially recurring exhibitions, to be moments of generation. For so many artists, including ourselves, commissions support the practice, and we think exhibition-making is a possibility towards ensuring that new works can be made. But there is also a pleasure in rediscovery, and in the re-playing of works in entirely new contexts. Recently, for a group exhibition we curated at MACBA in Barcelona, entitled “In the Open or in Stealth: The Unruly Presence of an Intimate Future” we exhibited the medical and scientific drawings of Santiago Ramon y Cajal, the pioneering and visionary Spanish neuroscientist who drew the most exquisite renditions of neural pathways. There were many contemporary artists in that show, some of them were making new work that was going to be shown for the first time, but then there was also this long-dead scientist, whose work was very alive. It was in this show that we started working with an awareness of “sources” as part of our curatorial methodology. By this we mean a toolkit of prompts that we shared with the artists we invited. This was a method to start a conversation that would take us in different directions. The navigation of this path reveals us to ourselves, to our colleagues, and to the world. We would like to answer the rest of your question by borrowing an answer we gave in another interview (as yet unpublished) to the art journalist Heniz Norbert Jocks. In it, we say:
“Our curatorial practice does not concern itself with the elaboration of a set theme or topic through the arrangement of works that ‘illustrate’ it. Nor do we create exhibitions with the intention to make people aware of that which they did not know. These can be worthy motives for exhibition making, it is just that they are not ours.
Our practice works its way out through a constant interplay between what we call ‘sources’ and their flux. Think of this as the course of a river. A river can have a ‘source’, or more than one set of ‘sources’. In its journey to the sea, it divides into tributaries, and is joined by the streams of rivers that begin in other ‘sources’. There are riverine islands. The river changes course, ebbs and flows. Finally it meets the sea, often creating a complex deltaic form.
We think of exhibition making somewhat along these lines. We identify ‘sources’ that interest us, these often lie at the intersection of the space we are working in, and ideas, concepts, images or states of feeling that seems to us to be pertinent to that space. This constellation is arrived at, partly by diligent research into the history, fables, topography, economy of a particular space, or a network, and partly by instinct, and partly by the constant churning within our practice of the things we are thinking and feeling.
Then, we elaborate the sources, enter into conversations with the artists and practitioners that we want to engage with, and this process leads to the formation of multiple streams and tributaries. Material – in the form of ideas, images, correspondence – ‘flows’ between us, the ‘source’ and our interlocutors. And this leads to a layering of the organic curatorial intelligence of the process. (Think of the way in which a river carries soil and silt, depositing it on flood plains, making it possible for them to be fecund, etc.)
In this way, the continued interaction between the ‘source’ and the streams creates a landscape, a terrain, of the exhibition. This terrain takes shape in our mind, and then is translated, as a process that can actually inhabit the space and time of the exhibition”.
Raqs: On the occasion of “Manifesta,” we were given an abandoned aluminum factory to work in. And this prompted us to think about the ‘residue’ of industrial production – what gets left behind. This is the ‘rest’, the ‘remainder’, the ‘dregs’ of capital. But the word ‘rest’ can also mean a moment of pause, and recuperation of that which is left behind. We played with both senses of the word to come up with the idea of “the rest of now,” which also became the title of the exhibition. When making exhibitions, it could be said that we work like detectives, building a ‘case’ from the clues and traces we find. Our invitation to the artists we want to work with is a proposal to join us in this process. To make discoveries, parallel to ours. The exhibition is a diagram that holds the image of these processes in play. We want exhibitions, especially recurring exhibitions, to be moments of generation. For so many artists, including ourselves, commissions support the practice, and we think exhibition-making is a possibility towards ensuring that new works can be made. But there is also a pleasure in rediscovery, and in the re-playing of works in entirely new contexts. Recently, for a group exhibition we curated at MACBA in Barcelona, entitled “In the Open or in Stealth: The Unruly Presence of an Intimate Future” we exhibited the medical and scientific drawings of Santiago Ramon y Cajal, the pioneering and visionary Spanish neuroscientist who drew the most exquisite renditions of neural pathways. There were many contemporary artists in that show, some of them were making new work that was going to be shown for the first time, but then there was also this long-dead scientist, whose work was very alive. It was in this show that we started working with an awareness of “sources” as part of our curatorial methodology. By this we mean a toolkit of prompts that we shared with the artists we invited. This was a method to start a conversation that would take us in different directions. The navigation of this path reveals us to ourselves, to our colleagues, and to the world. We would like to answer the rest of your question by borrowing an answer we gave in another interview (as yet unpublished) to the art journalist Heniz Norbert Jocks. In it, we say:
“Our curatorial practice does not concern itself with the elaboration of a set theme or topic through the arrangement of works that ‘illustrate’ it. Nor do we create exhibitions with the intention to make people aware of that which they did not know. These can be worthy motives for exhibition making, it is just that they are not ours.
Our practice works its way out through a constant interplay between what we call ‘sources’ and their flux. Think of this as the course of a river. A river can have a ‘source’, or more than one set of ‘sources’. In its journey to the sea, it divides into tributaries, and is joined by the streams of rivers that begin in other ‘sources’. There are riverine islands. The river changes course, ebbs and flows. Finally it meets the sea, often creating a complex deltaic form.
We think of exhibition making somewhat along these lines. We identify ‘sources’ that interest us, these often lie at the intersection of the space we are working in, and ideas, concepts, images or states of feeling that seems to us to be pertinent to that space. This constellation is arrived at, partly by diligent research into the history, fables, topography, economy of a particular space, or a network, and partly by instinct, and partly by the constant churning within our practice of the things we are thinking and feeling.
Then, we elaborate the sources, enter into conversations with the artists and practitioners that we want to engage with, and this process leads to the formation of multiple streams and tributaries. Material – in the form of ideas, images, correspondence – ‘flows’ between us, the ‘source’ and our interlocutors. And this leads to a layering of the organic curatorial intelligence of the process. (Think of the way in which a river carries soil and silt, depositing it on flood plains, making it possible for them to be fecund, etc.)
In this way, the continued interaction between the ‘source’ and the streams creates a landscape, a terrain, of the exhibition. This terrain takes shape in our mind, and then is translated, as a process that can actually inhabit the space and time of the exhibition”.
Raqs Media Collective, “Blood of Stars: A walk in ten scenes”, 2013
Single screen, video
Extracts from a Future History, Lulea (2013)
NT: My last question is: What is the future of Raqs Media Collective? Do you see yourself emphasizing one aspect of your practices over the others? Do you imagine Raqs Media Collective continuing in perpetuity, carried by other individuals?
Raqs: When we began, as Raqs, in 1992, we had no idea of what the future would be. The future came to us a year, a month, a day, an hour at a time. It still does. Raqs Media Collective is the continuing contingency that arose from three individuals, and persists, in that fashion. It makes no claim on immortality. However, barring the unlikely event of an airplane that all three of us are on, which somehow drops from the sky and crashes into a mountain or falls into the sea, it is unlikely that all three of us will exit the game at exactly the same time. In our partnership deed of 1992, we had written, as point 14 of the charter: “14. The firm shall not stand dissolved upon death, retirement or insolvency of any partner but upon dissolution.” That means, that even if one or the other of us dies, before the other two, Raqs will continue with whosoever is left. That is also the case if one of us decides to leave. Those who remain will constitute Raqs. But Raqs can dissolve only if the three of us decide to dissolve it, not otherwise. Raqs will cease, when we cease. Raqs is what comes out of the three of us, now and in the past and, as long as our bodies and minds can take it, in the future. Now, unlike when we formed as Raqs, there is also a history to the practice. So the future sometimes emerges from the things that we had ourselves forgotten. Recently, while doing a bit of spring cleaning in our studio, we opened an old suitcase and found stacks of papers, notes and photographs from the earliest days. Some of these pointed to a sea voyage we took in our first year to an archipelago in the Bay of Bengal. The curiosities that were born on that voyage are still with us. They beckon to us both from the past, as well as from the future. The question “how do we deal with the urge to fix an identity as well as the impulse to change over time?,” which we began asking while thinking about the practice of anthropological photography in the Andaman Islands (we were trying to make a film on that subject, which is still not yet made) can now be asked about our practice as well.
We are changing, growing, our minds are traveling in lateral directions, sometimes in tandem with each other, sometimes getting derailed and then catching up. In these diversions and detournements, there are many futures lurking. Our work is changing. We see new concerns, an active engagement with questions of energy and vitality, the reconstitution of the commons (not just in a material sense, but also more intangibly, as in a commons of what is “between us in the air”). We think a lot nowadays about toxins and toxicity, about the disappearance and appearance of forms of life, and organic connections between life forms. We are listening more to the planet and what we think it whispers. We are beginning to be more frank with each other about many things we were silent about. All this will change us. It will make our futures grow wilder, like a forest.
Raqs: When we began, as Raqs, in 1992, we had no idea of what the future would be. The future came to us a year, a month, a day, an hour at a time. It still does. Raqs Media Collective is the continuing contingency that arose from three individuals, and persists, in that fashion. It makes no claim on immortality. However, barring the unlikely event of an airplane that all three of us are on, which somehow drops from the sky and crashes into a mountain or falls into the sea, it is unlikely that all three of us will exit the game at exactly the same time. In our partnership deed of 1992, we had written, as point 14 of the charter: “14. The firm shall not stand dissolved upon death, retirement or insolvency of any partner but upon dissolution.” That means, that even if one or the other of us dies, before the other two, Raqs will continue with whosoever is left. That is also the case if one of us decides to leave. Those who remain will constitute Raqs. But Raqs can dissolve only if the three of us decide to dissolve it, not otherwise. Raqs will cease, when we cease. Raqs is what comes out of the three of us, now and in the past and, as long as our bodies and minds can take it, in the future. Now, unlike when we formed as Raqs, there is also a history to the practice. So the future sometimes emerges from the things that we had ourselves forgotten. Recently, while doing a bit of spring cleaning in our studio, we opened an old suitcase and found stacks of papers, notes and photographs from the earliest days. Some of these pointed to a sea voyage we took in our first year to an archipelago in the Bay of Bengal. The curiosities that were born on that voyage are still with us. They beckon to us both from the past, as well as from the future. The question “how do we deal with the urge to fix an identity as well as the impulse to change over time?,” which we began asking while thinking about the practice of anthropological photography in the Andaman Islands (we were trying to make a film on that subject, which is still not yet made) can now be asked about our practice as well.
We are changing, growing, our minds are traveling in lateral directions, sometimes in tandem with each other, sometimes getting derailed and then catching up. In these diversions and detournements, there are many futures lurking. Our work is changing. We see new concerns, an active engagement with questions of energy and vitality, the reconstitution of the commons (not just in a material sense, but also more intangibly, as in a commons of what is “between us in the air”). We think a lot nowadays about toxins and toxicity, about the disappearance and appearance of forms of life, and organic connections between life forms. We are listening more to the planet and what we think it whispers. We are beginning to be more frank with each other about many things we were silent about. All this will change us. It will make our futures grow wilder, like a forest.
M I X E D M E D I A
Digging
Into Poetic Holes
An Interview with A Kassen
Written by Nicola Trezzi
A Kassen, Ponds, 2017
Copenhagen Contemporary,
Copenhagen, Denmark, 2017
Copenhagen Contemporary,
Copenhagen, Denmark, 2017
The members of A Kassen met while studying together at the Royal Danish Academy of Fine Arts in Copenhagen and have been working together ever since. “Togetherness” is a key aspect of their practice, and as they say, every decision is taken collectively while “no one has a certain specific role”. Spanning from monumental outdoor interventions to almost imperceptible gestures in various exhibition spaces, the work of A Kassen brings art, architecture, and design into a new realm in which a conceptual, playful approach is paired with a subtle critique of various kinds of display systems. Publishing is another key channel of their practice, and they have experimented with various book formats. They are currently finalizing their first comprehensive monograph, while also working on a book focused on their site-specific works. Nicola Trezzi interviewed the collective about their versatile practice.
Nicola Trezzi: Can you tell us about the meaning of your name and why you chose it?
A Kassen: The Danish meaning of A Kassen is a concept that we adopted very early on, even before we were a group and needed a name. It occurred very organically and intuitively, just like almost everything else in our collaboration. Another thing that is common for our group is that we have four different views on the same matter, and therefore the meaning of and the reason why we chose the name A Kassen could be answered in multiple ways. One would be that it starts with an A, which comes in quite handy sometimes. Another is that, for people outside of Denmark, it is not understood, but you could try to imagine what it is — for instance, the initials of a person’s first name. Furthermore, although the concept of A Kassen is originally positive, it is a thing you don’t want to be associated with. For all these reasons, we thought that it was the right name for the group. Additionally, the meaning of A Kassen — which defines the unemployment benefit system in Denmark — is not the most important thing about our name. Very similar to our artworks, such a choice reflects the desire to apply new meaning, social meaning, to things we are familiar with, that have a context and a function.
A Kassen: The Danish meaning of A Kassen is a concept that we adopted very early on, even before we were a group and needed a name. It occurred very organically and intuitively, just like almost everything else in our collaboration. Another thing that is common for our group is that we have four different views on the same matter, and therefore the meaning of and the reason why we chose the name A Kassen could be answered in multiple ways. One would be that it starts with an A, which comes in quite handy sometimes. Another is that, for people outside of Denmark, it is not understood, but you could try to imagine what it is — for instance, the initials of a person’s first name. Furthermore, although the concept of A Kassen is originally positive, it is a thing you don’t want to be associated with. For all these reasons, we thought that it was the right name for the group. Additionally, the meaning of A Kassen — which defines the unemployment benefit system in Denmark — is not the most important thing about our name. Very similar to our artworks, such a choice reflects the desire to apply new meaning, social meaning, to things we are familiar with, that have a context and a function.
A Kassen, Bronze Pour, 2020.
Liquid bronze poured into water.
The instant solidified material is subsequently
enlarged and made as bronze sculptures.
Bronze, 138 x 126 x 136 cm
Courtesy of the artists and
Galleri Nicolai Wallner, Copenhage
A Kassen, Bronze Pour, 2020.
Liquid bronze poured into water.
The instant solidified material is subsequently
enlarged and made as bronze sculptures.
Bronze, 72 x 122 x 45 cm
Courtesy of the artists and
Galleri Nicolai Wallner, Copenhagen.
NT: Do you think the Danish context and its social fabric have influenced your way of working?
AK: It probably has, since working together and togetherness is very present in the Danish school system. Our government is mostly a minority government. We are a small country, and we learn early on that we should work together.
NT: Your work is very playful, and the notion of scale often plays a pivotal role in the way you create your work. Do you see any connection between these two elements?
AK: We are not so sure if scale plays a central role in our work, but then again, our upcoming book, which we are currently finalizing with Mousse Publishing, is named Dimensions Variable. So of course, size, either small or large, is something that needs to be considered when developing new projects. But since we often work with objects from the ‘real world’, size is already a given — unless the idea is based on skewing the perception of the object.
AK: It probably has, since working together and togetherness is very present in the Danish school system. Our government is mostly a minority government. We are a small country, and we learn early on that we should work together.
NT: Your work is very playful, and the notion of scale often plays a pivotal role in the way you create your work. Do you see any connection between these two elements?
AK: We are not so sure if scale plays a central role in our work, but then again, our upcoming book, which we are currently finalizing with Mousse Publishing, is named Dimensions Variable. So of course, size, either small or large, is something that needs to be considered when developing new projects. But since we often work with objects from the ‘real world’, size is already a given — unless the idea is based on skewing the perception of the object.
A Kassen, Ponds, 2017
Coffee is spilled on the floor plan of the exhibition space.
The stains are subsequently made as coffee
ponds in the exhibition space at the same location,
size and shape as the floor plan dictates.
Copenhagen Contemporary,
Copenhagen, Denmark, 2017
NT: Can you give an example? What would be a work by A Kassen that is “skewing the perception of the object”?
AK: For our graduate exhibition, we added a plaster rosette to the ceiling of the exhibition space of GL STRAND — located in an old historic building from the 1700s in Copenhagen. We had chosen a chocolate biscuit to constitute the shape, and then enlarged it in white plaster so it would blend in with the rest of the stucco decorating the building. Two so very different things — a rosette and a chocolate biscuit — intertwined in the same object and yet with an obvious overlap of forms.
AK: For our graduate exhibition, we added a plaster rosette to the ceiling of the exhibition space of GL STRAND — located in an old historic building from the 1700s in Copenhagen. We had chosen a chocolate biscuit to constitute the shape, and then enlarged it in white plaster so it would blend in with the rest of the stucco decorating the building. Two so very different things — a rosette and a chocolate biscuit — intertwined in the same object and yet with an obvious overlap of forms.
A Kassen, Rosette, 2007.
Stucco, installation view
at GL STRAND, Copenhagen.
Courtesy of the artists.
NT: What is the most extreme project you have done and why?
AK: That is a funny question. “Extreme” is normally not a notion we define with any of our projects. On the other hand, it is understandable to be asked this. Extreme could probably be seen in the same way as being playful… and it could go in two directions… Here, scale or size could be the question, again. For the work Drip, we hired an 80-year-old stand to catch drips from a ‘wine leakage’ coming from the ceiling. Could we define this act as extreme? We also copied 200 works of art by 17 artists who were supposed to participate in the exhibition for the Carnegie Art Award, which was cancelled. We presented them in some of the venues where the exhibition was supposed to take place; by doing that, we confused guests and critics.
AK: That is a funny question. “Extreme” is normally not a notion we define with any of our projects. On the other hand, it is understandable to be asked this. Extreme could probably be seen in the same way as being playful… and it could go in two directions… Here, scale or size could be the question, again. For the work Drip, we hired an 80-year-old stand to catch drips from a ‘wine leakage’ coming from the ceiling. Could we define this act as extreme? We also copied 200 works of art by 17 artists who were supposed to participate in the exhibition for the Carnegie Art Award, which was cancelled. We presented them in some of the venues where the exhibition was supposed to take place; by doing that, we confused guests and critics.
A Kassen, Drip, 2006.
White wine drips from the ceiling in the gallery.
A stand-in with a wine glass catches the drops.
Mixed media, installation and performance
view at Galleri Nicolai Wallner, Copenhagen.
Nicola Trezzi: NT: How many are you? What is the division of labor? Do you decide everything collectively or split projects between yourselves?
AK: We are four guys who met each other at the Royal Danish Academy of Fine Arts in Copenhagen and have been working together for about 17 years. We decide everything collectively, so no one has a certain specific role except Tommy, who makes the salad for lunch.
NT: Site-specificity often comes with your work, and yet it comes in a new way that is less connected to the history of art, land art, and more as a new understanding of institutional critique. Would you agree with such an association, and if so, what would be the artwork that encapsulates such association the best?
AK: Window to the World, which we did in MUSAC, might be such a type of work. Here, we took out six large window panes from the facade of the museum and replaced them with plywood boards. Inside the museum, the window panes were installed as three sets of automatic sliding doors connected at their center. The sculpture was activated by the movement of the audience and itself. We have never associated ourselves with institutional critique, but as you say, it might be a new understanding of institutional critique, because it has been so integrated in the works of the artists we have been looking at and inspired by since our studies.
AK: We are four guys who met each other at the Royal Danish Academy of Fine Arts in Copenhagen and have been working together for about 17 years. We decide everything collectively, so no one has a certain specific role except Tommy, who makes the salad for lunch.
NT: Site-specificity often comes with your work, and yet it comes in a new way that is less connected to the history of art, land art, and more as a new understanding of institutional critique. Would you agree with such an association, and if so, what would be the artwork that encapsulates such association the best?
AK: Window to the World, which we did in MUSAC, might be such a type of work. Here, we took out six large window panes from the facade of the museum and replaced them with plywood boards. Inside the museum, the window panes were installed as three sets of automatic sliding doors connected at their center. The sculpture was activated by the movement of the audience and itself. We have never associated ourselves with institutional critique, but as you say, it might be a new understanding of institutional critique, because it has been so integrated in the works of the artists we have been looking at and inspired by since our studies.
A Kassen, Window to the World, 2009.
Six window panes are taken out of the facade
of the museum and replaced by plywood boards.
The window panes are installed into three sets
of automatic sliding doors connected at their centre.
The sculpture is activated by the movement of the audience and itself.
Mixed media, installation view [outside]
at MUSAC, León (Spain).
Courtesy of the artists, Galleri Nicolai Wallner,
Copenhagen, and Maisterravalbuena, Madrid.
NT: It would be interesting to hear who the artists are whose works inspired you back then and if those works still inspire you today.
AK: Elmgreen & Dragset and Superflex have been sources of inspiration for us since they started as emerging artists in Denmark, and also because they showed us that it would be possible to work together, either as a duo or a group. We could also mention, randomly, Olafur Eliasson, Roman Signer, Pipilotti Rist, Kishio Suga, Roman Ondak, Michael Asher, Chris Burden, and Sofie Calle… But we could probably come up with another 20 artists; this is what comes to mind right now. Being four individuals working together leads to openness and generates interest going in many directions. Almost all the time we have a common intuition or idea of what is interesting, and yet each of us react and contribute to this same idea in very different ways, coming to it from different perspectives. The result is always idiosyncratic, even when it doesn’t seem to be!
AK: Elmgreen & Dragset and Superflex have been sources of inspiration for us since they started as emerging artists in Denmark, and also because they showed us that it would be possible to work together, either as a duo or a group. We could also mention, randomly, Olafur Eliasson, Roman Signer, Pipilotti Rist, Kishio Suga, Roman Ondak, Michael Asher, Chris Burden, and Sofie Calle… But we could probably come up with another 20 artists; this is what comes to mind right now. Being four individuals working together leads to openness and generates interest going in many directions. Almost all the time we have a common intuition or idea of what is interesting, and yet each of us react and contribute to this same idea in very different ways, coming to it from different perspectives. The result is always idiosyncratic, even when it doesn’t seem to be!
A Kassen, Atlas, 2016.
A statue of Atlas is cut up into units
corresponding with the dimensions
of cobblestones.
Foundation CAB, Brussels, Belgium, 2016
NT: Although your works always have a degree of aesthetic power, the process is often what really matters. At the same time, that process is not always disclosed. Does this bother you?
AK We believe that even though artworks don’t always disclose what led to their existence, they often radiate the underlying process or energy that has been put into them. Such understanding can be seen as another aspect to the work in which an important role is given to storytelling. When we ‘dig in’ and explore the full range of a project — taking time to understand all the different aspects related to it and the thoughts behind its making — the appreciation is often greater.
AK We believe that even though artworks don’t always disclose what led to their existence, they often radiate the underlying process or energy that has been put into them. Such understanding can be seen as another aspect to the work in which an important role is given to storytelling. When we ‘dig in’ and explore the full range of a project — taking time to understand all the different aspects related to it and the thoughts behind its making — the appreciation is often greater.
A Kassen, Mirrors, 2013.
Scans of antique mirrors
up for auction are taken from
the Sotheby’s catalogue, they are then printed at actual size,
framed and put for auction again at Sotheby’s.
Sotheby’s New York, US, 2013
Nicola Trezzi: This last thought makes me think of some of your books that clearly reveal a mechanism behind your work, which could be seen, at times, as a rumination on the metalinguistic nature of art making. In other words, making art is, ultimately and simply, about making art. Would you agree?
AK: Not totally. Making art is about inspiring the ones experiencing it. It serves several goals. We see it as a personal way of expressing what we have on our minds and at the same time empowering the viewer, who has the possibility of getting new input, new ideas, new perspectives. It makes you start thinking about things you hadn’t given a thought. There are so many unexplored ‘poetic holes’ in society and in life in general, and artists are good at shedding light on these holes. Revealing a mechanism behind a work is to set focus on a given system.
NT: I have two questions regarding the aforementioned monograph you are currently finalizing: What have you understood through this process? Any surprising threads going from work to work, any leitmotiv you did not consider?
AK: We didn’t learn a thing! [laughs] We are privileged to have done and still be doing lots of projects. Everyday things are fascinating and yet they can be easily overlooked. So this publication will emphasize things we know but sort of forgot. For instance: How do puddles look? They are really beautiful, no matter which shape they take. No big new meaning surfaced during the process — although after finalizing the selection of works to be included, we all feel like making another monograph with works that didn’t make the final cut. Another book that might give new insights would probably be one focused on site-specific works and works integrated with architecture, published by Arkitektens Forlag. For this book, we are working with an architect who is making technical drawings for each work, and such decisions will probably generate new understandings of this side of our practice. Translating our work into the language of architectural drawing will undoubtedly unfold different perspectives.
AK: Not totally. Making art is about inspiring the ones experiencing it. It serves several goals. We see it as a personal way of expressing what we have on our minds and at the same time empowering the viewer, who has the possibility of getting new input, new ideas, new perspectives. It makes you start thinking about things you hadn’t given a thought. There are so many unexplored ‘poetic holes’ in society and in life in general, and artists are good at shedding light on these holes. Revealing a mechanism behind a work is to set focus on a given system.
NT: I have two questions regarding the aforementioned monograph you are currently finalizing: What have you understood through this process? Any surprising threads going from work to work, any leitmotiv you did not consider?
AK: We didn’t learn a thing! [laughs] We are privileged to have done and still be doing lots of projects. Everyday things are fascinating and yet they can be easily overlooked. So this publication will emphasize things we know but sort of forgot. For instance: How do puddles look? They are really beautiful, no matter which shape they take. No big new meaning surfaced during the process — although after finalizing the selection of works to be included, we all feel like making another monograph with works that didn’t make the final cut. Another book that might give new insights would probably be one focused on site-specific works and works integrated with architecture, published by Arkitektens Forlag. For this book, we are working with an architect who is making technical drawings for each work, and such decisions will probably generate new understandings of this side of our practice. Translating our work into the language of architectural drawing will undoubtedly unfold different perspectives.
A Kassen, Bronze Pour, 2020.
Liquid bronze poured into water.
The instant solidified material is subsequently
enlarged and made as bronze sculptures.
Bronze, 138 x 126 x 136 cm
Courtesy of the artists and
Galleri Nicolai Wallner, Copenhagen
A Kassen, Bronze Pour, 2020.
Liquid bronze poured into water.
The instant solidified material is subsequently
enlarged and made as bronze sculptures.
Bronze, 72 x 122 x 45 cm
Courtesy of the artists and
Galleri Nicolai Wallner, Copenhagen
NT: In my view, your practice goes against the two most important parameters associated with the creation of art since The Lives of Giorgio Vasari: There is no ‘real’ signature — in fact, the signature can be considered a work of art in itself. And there is no individual — you say “We are four guys”, but you could be 400. While this is what brought me to your work in the first place, it does not fit the contemporary art market, which still heavily relies on romanticized clichés such as uniqueness, originality… art as the creation of a demiurge. At the same time, you have a continuous relationship with private galleries such as Galleri Nicolai Wallner in Copenhagen. Can you share some thoughts about this side of your work?
AK: Apropos, we are currently working on a solo exhibition for Maisterravalbuena, the gallery in Madrid we have been working with since 2009. They are moving to a new location and asked us to present their final exhibition in the space they have had for the last ten years. Considering the fact that our work often asks to physically alter the exhibition space, they probably thought since they are giving up the space, which will most probably be ripped apart and renovated, that this is a good opportunity to let us do whatever we like.
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A Kassen, Permanent Reflection, 2013.
Two photographs depicting the
reflections of their own framing glass.
Inkjet print, 185 × 145 cm (each);
installation view at Lund Konsthall (Sweden)
[in the foreground: work by Rolf Nowotny].
Courtesy of the artists, Galleri Nicolai Wallner, Copenhagen,
and Maisterravalbuena, Madrid.
Photo: Terje Östling.
Lund Konsthall, Lund, Sweden, 2015
AK: Apropos, we are currently working on a solo exhibition for Maisterravalbuena, the gallery in Madrid we have been working with since 2009. They are moving to a new location and asked us to present their final exhibition in the space they have had for the last ten years. Considering the fact that our work often asks to physically alter the exhibition space, they probably thought since they are giving up the space, which will most probably be ripped apart and renovated, that this is a good opportunity to let us do whatever we like.
A Kassen, Permanent Reflection, 2013.
Two photographs depicting the
reflections of their own framing glass.
Inkjet print, 185 × 145 cm (each);
installation view at Lund Konsthall (Sweden)
[in the foreground: work by Rolf Nowotny].
Courtesy of the artists, Galleri Nicolai Wallner, Copenhagen,
and Maisterravalbuena, Madrid.
Photo: Terje Östling.
Lund Konsthall, Lund, Sweden, 2015
NT: You also do a lot a of commissions… Would you like to mention one or two you are particularly excited by?
AK: Yes! Making art for a city or a bank is super interesting. How can you make people relate to an artwork presented in an unusual context? How do you make sure the artwork won’t become invisible due to the context in which it is presented? These are good challenges. We just finished a commission for the Danish Police at their new academy in Vejle, Denmark. It took four years to complete, but it has been a positive process. Indeed, over the last several years, we have put a lot of energy into doing public commissions. As talked about earlier, our works often deal with site-specificity, so public commissions have been a natural development of our practice. It gives us the opportunity to react to a certain setting, whether that be the architecture, social constructions, or anything else that captures our interest in that specific place. Endless Lamppost is a project like that. It is a public commission for a train station in Denmark where we are going to exchange an existing lamppost with a 30-meter-high lamppost… OK, you got us there! Scale and playfulness are, sometimes, pivotal aspects of our works.
AK: Yes! Making art for a city or a bank is super interesting. How can you make people relate to an artwork presented in an unusual context? How do you make sure the artwork won’t become invisible due to the context in which it is presented? These are good challenges. We just finished a commission for the Danish Police at their new academy in Vejle, Denmark. It took four years to complete, but it has been a positive process. Indeed, over the last several years, we have put a lot of energy into doing public commissions. As talked about earlier, our works often deal with site-specificity, so public commissions have been a natural development of our practice. It gives us the opportunity to react to a certain setting, whether that be the architecture, social constructions, or anything else that captures our interest in that specific place. Endless Lamppost is a project like that. It is a public commission for a train station in Denmark where we are going to exchange an existing lamppost with a 30-meter-high lamppost… OK, you got us there! Scale and playfulness are, sometimes, pivotal aspects of our works.
A Kassen, Foundation, 2021.
In the double height canteen a circle is cut out of the wall,
revealing the first floor structure of the building and creating
connections between the different spaces and floors.
The circular cut-out is placed leaning against the wall in the canteen.
Mixed media, installation view at the
Police Academy in West Denmark for the Danish National Police (UVC).
Police academy, Vejle, Denmark, 2021
Courtesy of the artists.
M I X E D M E D I A
Into The Void
An Interview with Chim↑Pom from Smappa!Group
Written by Nicola Trezzi
SUPER RAT2006, 2011
Photo: Yoshimitsu Umekawa © Chim↑Pom
Courtesy of the artist and MUJIN-TO Production
Photo: Yoshimitsu Umekawa © Chim↑Pom
Courtesy of the artist and MUJIN-TO Production
In 2011, less than a month after the nuclear meltdown of Fukushima, members of the Tokyo art collective Chim↑Pom from Smappa!Group crossed the barrier and headed into the Exclusion Zone. Dressed in white hazmat suits, the group trudged to a visitor viewing station on a precipice giving a view of the exploded nuclear reactors. There they spray-painted the crimson-red circle of the Japanese flag onto a white cloth, then added three blades to transform the circle into the symbol of radioactivity. One of the members hoisted the flag as it flickered in the staunch wind. The intervention resulted in the video work “Real Times”.
The action is emblematic of Chim↑Pom from Smappa!Group’s collaborative practice which intervenes in social and art world situations to deliver a strong political message, often dripping in black humour and disruptive intent. The group of six artists — Masataka Okada, Ellie, Ryuta Ushiro, Toshinori Mizuno, Motomu Inaoka, and Yasutaka Hayashi — formed in 2005 and began making work dealing with urban reality in Japan. When producing work as Chim↑Pom from Smappa!Group, Ellie says, “One member will tug on another’s rope while another provides an anchor, dragging it along until another fishes it out, pulls it up, and tosses it for another to reel in and wind up. We all carry each other.” Nicola Trezzi interviewed Chim↑Pom from Smappa!Group for ZETTAI about their art practice.
Nicola Trezzi: Your ideas have been materialized through several languages: from video to sculpture, from installations to actions; I felt that “Grand Open – Marvelous Liberation –,” your solo exhibition inaugurating the program of ANOMALY, was a kind of manifesto of your extreme versatility. How do you create your works? Are you always relying on outsourcing? Is there any sort of division of labor within the members?
Motomu Inaoka: The way we make work is the same as it always was: we meet with each other a number of times each week, either online or in person, and discuss ideas, decide on a production schedule, and try to keep things moving on time.
We don't do much outsourcing, since there’s the risk that you won’t end up with what you were hoping for — unless you’re able to communicate well enough. Having worked as a team from the beginning, each of us have our own areas of expertise, and we can manage most things even if we lack some skills. When we do outsource, we typically go with friends, or friends of friends, who have the technical skills. Since I’m often really involved in the production side of things, I’ve been helped a lot by my friends and other people I know.
When we first started Chim↑Pom from Smappa!Group, besides the fact that we liked art and wanted to do interesting things, we shared zero background in theory or art education. Over the many years of Chim↑Pom from Smappa!Group, as we’ve pushed ourselves to make work together, time and time again we’ve tested out different ways to divide up the work in order to improve our creative process. In that sense, you could say we have a much clearer division of labour now. And that has made it possible for us to produce high quality work in a shorter period of time. But with that, it’s become challenging for us to make work that better reflects our different personalities.
As far as what you said about the Grand Open exhibition being an expression of Chim↑Pom from Smappa!Group’s versatility, I don’t feel like that’s something we’ve ever come close to achieving, at least not something truly interesting and varied. If we were able to express that kind of “versality” within the bounds of the techniques we’ve developed over the years, that would be exciting as a member of Chim↑Pom from Smappa!Group, to think that we could create something interesting that’s even more intrinsically versatile.
Motomu Inaoka: The way we make work is the same as it always was: we meet with each other a number of times each week, either online or in person, and discuss ideas, decide on a production schedule, and try to keep things moving on time.
We don't do much outsourcing, since there’s the risk that you won’t end up with what you were hoping for — unless you’re able to communicate well enough. Having worked as a team from the beginning, each of us have our own areas of expertise, and we can manage most things even if we lack some skills. When we do outsource, we typically go with friends, or friends of friends, who have the technical skills. Since I’m often really involved in the production side of things, I’ve been helped a lot by my friends and other people I know.
When we first started Chim↑Pom from Smappa!Group, besides the fact that we liked art and wanted to do interesting things, we shared zero background in theory or art education. Over the many years of Chim↑Pom from Smappa!Group, as we’ve pushed ourselves to make work together, time and time again we’ve tested out different ways to divide up the work in order to improve our creative process. In that sense, you could say we have a much clearer division of labour now. And that has made it possible for us to produce high quality work in a shorter period of time. But with that, it’s become challenging for us to make work that better reflects our different personalities.
As far as what you said about the Grand Open exhibition being an expression of Chim↑Pom from Smappa!Group’s versatility, I don’t feel like that’s something we’ve ever come close to achieving, at least not something truly interesting and varied. If we were able to express that kind of “versality” within the bounds of the techniques we’ve developed over the years, that would be exciting as a member of Chim↑Pom from Smappa!Group, to think that we could create something interesting that’s even more intrinsically versatile.
Chim↑Pom from Smappa!Group
Photo: Seiha Yamaguchi
Photo: Seiha Yamaguchi
NT: Gender issues are also present in your practice and you have done several works in which Ellie, the only female member, serves either as muse, inspiration or visual material. Can you conceptually articulate such internal dynamics?
Ellie: For me, it’s not at all about my gender — and much much more about who I am as a person. One member will tug on another’s rope while another provides an anchors, dragging it along until another fishes it out, pulls it up, and tosses it for another to reel in and wind up. We all carry each other. There’s a balance of power that has echoed through our relationship over the past 15 years.
NT: In 2015, you initiated “Don’t Follow the Wind”, a long-term international exhibition taking place inside the restricted Fukushima Exclusion Zone. The artworks are exhibited in buildings abandoned by residents and are at present still inaccessible to the public. Members of Chim↑Pom from Smappa!Group actually entered the zone at a time when journalists dared not set foot there. Were you concerned for your health?
Ryuta Ushiro: It was just after the nuclear accident when I first went to that area, what’s now the “Difficult-to-Return Zone”. The feeling was beyond anxiety; it was terrifying. Because in Japan, our image of the long-term health effects of radiation at that time was still strongly tied to Hiroshima and Nagasaki. And then the ghost towns we’d seen in anime and sci-fi suddenly became a reality. It was a frightening experience to see that in person and walk into that zone.
Ellie: For me, it’s not at all about my gender — and much much more about who I am as a person. One member will tug on another’s rope while another provides an anchors, dragging it along until another fishes it out, pulls it up, and tosses it for another to reel in and wind up. We all carry each other. There’s a balance of power that has echoed through our relationship over the past 15 years.
NT: In 2015, you initiated “Don’t Follow the Wind”, a long-term international exhibition taking place inside the restricted Fukushima Exclusion Zone. The artworks are exhibited in buildings abandoned by residents and are at present still inaccessible to the public. Members of Chim↑Pom from Smappa!Group actually entered the zone at a time when journalists dared not set foot there. Were you concerned for your health?
Ryuta Ushiro: It was just after the nuclear accident when I first went to that area, what’s now the “Difficult-to-Return Zone”. The feeling was beyond anxiety; it was terrifying. Because in Japan, our image of the long-term health effects of radiation at that time was still strongly tied to Hiroshima and Nagasaki. And then the ghost towns we’d seen in anime and sci-fi suddenly became a reality. It was a frightening experience to see that in person and walk into that zone.
REAL TIME, 2011
©Chim↑Pom
Courtesy of the artist, ANOMALY, and MUJIN-TO Production
©Chim↑Pom
Courtesy of the artist, ANOMALY, and MUJIN-TO Production
NT: “Don’t Follow the Wind” is a curatorial project but also a kind of cultural and political intervention. Can you tell me about the premises that led you to this project and any conclusions you’ve drawn thus far?
Ryuta Ushiro: The disaster, like the tsunami disaster, did not lend itself to a vision of a city that could be rebuilt in a few years. In 2011, you saw a lot of writers respond to what happened, to the loss and the void of the city and its residents, but since I went back to that area every few months, it was something that stayed on my mind for a much longer period of time. Following that, the notion of time became a theme, and I saw the need for an international approach to what was not simply a domestic problem, and then “Don't Follow the Wind” came about. I think I was standing in line at the Natural History Museum in New York when the idea first popped into my head.
From there, we selected three international curators and set up a planning committee for the project. But we were turned away by every art institution we approached, and we were told by two different foundations that anything dealing with Fukushima was inherently political and therefore problematic. But despite all that, we’re grateful that someone was able to raise funds (which we then donated to DFW) to purchase our work, and above all we’re grateful for all the support we received from local people (although we couldn’t help but feel seized by despair over Japanese art institutions at the same time).
Since the start of the project five years ago, and having passed through five different venues, the exhibition has continued to change. It’s been affected by the nature and the situation in the Difficult-to-Return Zone. One of the works was lost — destroyed along with the venue when it was demolished. As an exhibition that’s inaccessible to humans, the wildlife has also had a major impact, but I’m always intrigued by the way that the flora and fauna approach the exhibition when I go in for maintenance. There’s also been significant changes in the area’s ecology.
Ryuta Ushiro: The disaster, like the tsunami disaster, did not lend itself to a vision of a city that could be rebuilt in a few years. In 2011, you saw a lot of writers respond to what happened, to the loss and the void of the city and its residents, but since I went back to that area every few months, it was something that stayed on my mind for a much longer period of time. Following that, the notion of time became a theme, and I saw the need for an international approach to what was not simply a domestic problem, and then “Don't Follow the Wind” came about. I think I was standing in line at the Natural History Museum in New York when the idea first popped into my head.
From there, we selected three international curators and set up a planning committee for the project. But we were turned away by every art institution we approached, and we were told by two different foundations that anything dealing with Fukushima was inherently political and therefore problematic. But despite all that, we’re grateful that someone was able to raise funds (which we then donated to DFW) to purchase our work, and above all we’re grateful for all the support we received from local people (although we couldn’t help but feel seized by despair over Japanese art institutions at the same time).
Since the start of the project five years ago, and having passed through five different venues, the exhibition has continued to change. It’s been affected by the nature and the situation in the Difficult-to-Return Zone. One of the works was lost — destroyed along with the venue when it was demolished. As an exhibition that’s inaccessible to humans, the wildlife has also had a major impact, but I’m always intrigued by the way that the flora and fauna approach the exhibition when I go in for maintenance. There’s also been significant changes in the area’s ecology.
KI-AI 100, 2011
© Chim↑Pom
Courtesy of the artist,
ANOMALY, and MUJIN-TO Production
NT: My interest in your relationship to the notion of “site-specificity” continues with the city of Tokyo, where you founded the collective. This incredible place seems to inspire many of your projects and your practice definitely has a strong “metropolitan” tone. Do you think Chim↑Pom from Smappa!Group would make different kinds of art if you were not in Tokyo?
Yasutaka Hayashi: We’ve already done artist residencies in different cities and places outside of Tokyo. Each setting has its own unique characteristics, but I believe we’ve been able to create something truly unique to Chim↑Pom from Smappa!Group. Of course, all of us are currently living in Tokyo, so we do stage a lot of our work here. But I think that simply reflects the fact that most of our connections and relationships are here, which is critical to creating the work. To put it another way, I think we could make work that’s unique to Chim↑Pom from Smappa!Group even in the desert or the Antarctic, just as long as we’re able to find similar points of connection.
NT: In Tokyo, you have done projects, such as “Ningen Restaurant”, in which you mix the notion of community with that of gentrification in a way that seems detached from the cliché of political or community-based art. Can you explain the actual presence of this project in the “real world” (not the art world)?
Ryuta Ushiro: We don’t really think about the real world and the art world as two separate things. Of course, there’s a world of the unreal that’s necessary for art, and depending on the work, we might make use of certain sorts of methods. But I can’t remember us ever even talking about our work or what we do in that way, making a clear distinction between those two worlds. Anyways, looking at our habits up until now, the trend it seems is that we’ve been overwhelmingly drawn towards the real world. Maybe that’s because of what we present through our work: not providing answers to problems in art or society, but rather focusing on the individual at the mercy of this life and reality, in which all sorts of things happen.
Yasutaka Hayashi: We’ve already done artist residencies in different cities and places outside of Tokyo. Each setting has its own unique characteristics, but I believe we’ve been able to create something truly unique to Chim↑Pom from Smappa!Group. Of course, all of us are currently living in Tokyo, so we do stage a lot of our work here. But I think that simply reflects the fact that most of our connections and relationships are here, which is critical to creating the work. To put it another way, I think we could make work that’s unique to Chim↑Pom from Smappa!Group even in the desert or the Antarctic, just as long as we’re able to find similar points of connection.
NT: In Tokyo, you have done projects, such as “Ningen Restaurant”, in which you mix the notion of community with that of gentrification in a way that seems detached from the cliché of political or community-based art. Can you explain the actual presence of this project in the “real world” (not the art world)?
Ryuta Ushiro: We don’t really think about the real world and the art world as two separate things. Of course, there’s a world of the unreal that’s necessary for art, and depending on the work, we might make use of certain sorts of methods. But I can’t remember us ever even talking about our work or what we do in that way, making a clear distinction between those two worlds. Anyways, looking at our habits up until now, the trend it seems is that we’ve been overwhelmingly drawn towards the real world. Maybe that’s because of what we present through our work: not providing answers to problems in art or society, but rather focusing on the individual at the mercy of this life and reality, in which all sorts of things happen.
Making the Sky of Hiroshima “PIKA!”, 2009
© Chim↑Pom
Photo: Bond Nakao
Courtesy of the artist, ANOMALY, and MUJIN-TO Production
NT: One of my favourite projects of yours is the series “Super Rat” in which you hunt street rats, stuff them, and present them in various scenarios as Pokémon’s main character Pikachu. Despite its ironic tone, this project is rooted in very deep sociological issues, and I was wondering what kind of reaction it has sparked when presented in exhibitions around the world?
Ryuta Ushiro: Since its formation and still today, “Super Rat” has always been a self-portrait. No matter what happens with the city or society, there’s our ability to adapt and survive in new environments that we share with rats. While we’ve exhibited this work around the world, as you mention, everyone who sees the rats — and the fundamental questions they pose — seems to react in the same way: with sympathy and fright, disgust and familiarity. You get the sense that when it comes to how humans feel about rats, we’re all of the same mind.
Ryuta Ushiro: Since its formation and still today, “Super Rat” has always been a self-portrait. No matter what happens with the city or society, there’s our ability to adapt and survive in new environments that we share with rats. While we’ve exhibited this work around the world, as you mention, everyone who sees the rats — and the fundamental questions they pose — seems to react in the same way: with sympathy and fright, disgust and familiarity. You get the sense that when it comes to how humans feel about rats, we’re all of the same mind.
Chim↑Pom
SUPER RAT (2006, 2011)
© Chim↑Pom
Courtesy of the artist, ANOMALY, and MUJIN-TO Production
NT: Chim↑Pom from Smappa!Group formed around the famous and provocative artist Makoto Aida. You were spending your time hanging out at his studio when you decided to make art, even though Ellie is the only member of Chim↑Pom with an art school background. How did you come to be spending time with Aida? Can you paint a picture of those early days and the first sparks of inspiration?
Masataka Okada: It was a big deal that we first learned about the genre of contemporary art through Aida. For young people in Japan around the year 2000, there weren’t opportunities to learn about contemporary art without going to art school. So that was something of a miracle. Before Chim↑Pom from Smappa!Group, we were regular people and just wanted to do something interesting, so maybe in some ways it was inevitable that our entrance into contemporary art would be through Makoto Aida.
Chim↑Pom from Smappa!Group was first formed as a band, and it was mainly Ushiro and Hayashi who were doing music together. We all had only just met at that time, so we weren’t really sure what Chim↑Pom from Smappa!Group meant, and I remember trying to figure that out together through the process of making work. To be honest, none of us thought we’d still be active more than 15 years later, and we’ve also let it slide the fact that “Chim↑Pom” is a pretty embarrassing name in Japan [chimpo is slang for penis]. Today you could say it’s a remnant of the frame of mind we were in back then.
NT: Although you define yourself an “artist collective”, your work has gone way beyond art-making to include exhibition-making, curating, and also activism. How do you frame your expanded practice? Do you see it under the rubric of “art-making”?
Ryuta Ushiro: “Artist collective” is simply a title, so it doesn’t define what Chim↑Pom from Smappa!Group is. As you’ve pointed out, our activities aren’t confined to any single form. We’re six people who have drastically different sets of values, which is to say that it’s not like “activism” drives us, and it’s not like we’re married to the “art exhibition” format. We make visual art, and we create platforms for music and the performing arts, for fashion, demonstrations, restaurants, and the list goes on. But the way we organize parties and the collaborations doesn’t neatly fit into the frame of “curation” as defined by the art world. We’ve also run stores and published lots of books.
Objectively speaking, I guess it’s possible to call all these different activities “art-making”, but that’s not actually how it is for us. One could say that it’s art or what have you, but there’s never going to be a definitive way to package what we do as part of Chim↑Pom from Smappa!Group — as “Chim↑Pom from Smappa!Group professionals” engaged in the ongoing creation of this organism, comprised of these kind of life-long amateurs... Going back to the question, subjectively speaking, it feels more accurate to say we’re engaged in “Chim↑Pom-making”.
Masataka Okada: It was a big deal that we first learned about the genre of contemporary art through Aida. For young people in Japan around the year 2000, there weren’t opportunities to learn about contemporary art without going to art school. So that was something of a miracle. Before Chim↑Pom from Smappa!Group, we were regular people and just wanted to do something interesting, so maybe in some ways it was inevitable that our entrance into contemporary art would be through Makoto Aida.
Chim↑Pom from Smappa!Group was first formed as a band, and it was mainly Ushiro and Hayashi who were doing music together. We all had only just met at that time, so we weren’t really sure what Chim↑Pom from Smappa!Group meant, and I remember trying to figure that out together through the process of making work. To be honest, none of us thought we’d still be active more than 15 years later, and we’ve also let it slide the fact that “Chim↑Pom” is a pretty embarrassing name in Japan [chimpo is slang for penis]. Today you could say it’s a remnant of the frame of mind we were in back then.
NT: Although you define yourself an “artist collective”, your work has gone way beyond art-making to include exhibition-making, curating, and also activism. How do you frame your expanded practice? Do you see it under the rubric of “art-making”?
Ryuta Ushiro: “Artist collective” is simply a title, so it doesn’t define what Chim↑Pom from Smappa!Group is. As you’ve pointed out, our activities aren’t confined to any single form. We’re six people who have drastically different sets of values, which is to say that it’s not like “activism” drives us, and it’s not like we’re married to the “art exhibition” format. We make visual art, and we create platforms for music and the performing arts, for fashion, demonstrations, restaurants, and the list goes on. But the way we organize parties and the collaborations doesn’t neatly fit into the frame of “curation” as defined by the art world. We’ve also run stores and published lots of books.
Objectively speaking, I guess it’s possible to call all these different activities “art-making”, but that’s not actually how it is for us. One could say that it’s art or what have you, but there’s never going to be a definitive way to package what we do as part of Chim↑Pom from Smappa!Group — as “Chim↑Pom from Smappa!Group professionals” engaged in the ongoing creation of this organism, comprised of these kind of life-long amateurs... Going back to the question, subjectively speaking, it feels more accurate to say we’re engaged in “Chim↑Pom-making”.
P E R F O R M A N C E
Spin into
Being
The Performance Art of Melati Suryodarmo
Written by Kyra Kordoski
Melati Suryodarmo, “The Black Ball”,
performed at Van Gogh Museum, Amsterdam 2005.
Photo by Oliver Blomeier.
Photo courtesy of the artist.
Melati Suryodarmo’s performances often seem to exist in a temporal space distinct from daily life. Many of her best-known durational pieces offer an unhurried, inexorably unfolding experience of the impact that energy has on matter, and vice versa. In “I’m a Ghost in My Own House” (2012), throughout the course of a day, mounds of coal are reduced to dust; in “I Love You” (2007), a giant pane of tempered glass moves slowly, for hours, around an illuminated gallery room; in “Transaction of Hollows” (2016), 800 arrows are shot calmly but with thunderous impact into drywall, one unceasingly after another.
In all these cases and dozens of others throughout her prolific 30-year practice, the source of energy that shifts and resists various materials is Suryodarmo’s body. Hers is a strong, trained body, one she has dedicated over her lifetime to somatic practices, including Japanese Butoh dance and Javanese Sumarah meditation, in addition to rigorous formal training in performance art from Marina Abramović and others. It’s perhaps unsurprising, however, that Suryodarmo’s first academic pursuit was not art but international relations. Specific elements of her pieces are frequently grounded in how we, as individuals, form partnerships, communities, cultures or nations, and in how these structures, which we comprise or are excluded from, exert pressures on us.
In her writing, Suryodarmo has expressed a desire to address the worlds that exist within, the constellations of memories and emotions from which a sense of self, an ego, emerges. Considering both the vastness and the specificities of these interior worlds, there is a degree to which all our relationships could be considered akin to exercises in international relations. But while many of Suryodarmo’s pieces might be instigated by specific relationships and memories, they are not ultimately about them. Rather, her work creates immersive conceptual spaces which allow for an expansive mode of being. As she described to me, “I think that for me, art should be functional, and not only in a simple way. It should bring something. It should offer something — not necessarily just provoking our perceptions, but offering a space in which to think, to feel, to be engaged.”
In her writing, Suryodarmo has expressed a desire to address the worlds that exist within, the constellations of memories and emotions from which a sense of self, an ego, emerges. Considering both the vastness and the specificities of these interior worlds, there is a degree to which all our relationships could be considered akin to exercises in international relations. But while many of Suryodarmo’s pieces might be instigated by specific relationships and memories, they are not ultimately about them. Rather, her work creates immersive conceptual spaces which allow for an expansive mode of being. As she described to me, “I think that for me, art should be functional, and not only in a simple way. It should bring something. It should offer something — not necessarily just provoking our perceptions, but offering a space in which to think, to feel, to be engaged.”
Melati Suryodarmo, "Eins und Eins performed at Pearl Lam Galleries Singapore, 2016
Photo by Riki Zoelkarnain.
Photo courtesy of the artist.
Photo by Riki Zoelkarnain.
Photo courtesy of the artist.
Suryodarmo generates such spaces through careful attention to not only her movements as a performer but to her apparel, architecture, and sound. Perhaps the most important element of these spaces, though, is their fundamentally cyclical nature, through which revolutions become an engine for developing interactions between — or perhaps the merging of — material and the immaterial.
What Suryodarmo wears for her performances is not incidental. Fundamentally, she clarifies, “The design should be suitable for the action, and the fabric should be comfortable.” Her garments are mostly self-designed and appear meticulously constructed. She often wears simple but striking gowns; as in her 2003 work “Alé Lino”, where, standing upon a plinth, she leans for three hours into a four-meter pole, the end of which is positioned against her solar plexus, a gathering point of nerves. The strong, clean lines of her black strapless silk dress emphasize the minimalism of the performance, the stillness within which tension, exhaustion, and pain must be building.
Sometimes Suryodarmo’s garment is a dominant element of a piece. In “Excuse me, Sir!” (2009), she moves through a Taiwanese Confucian temple, whose walls are inscribed with a text commanding the appropriate behaviour for women. The artist wears a black mask spiked with nails, seeming to express both the ease with which women can cause offense and an aggressive reaction against repressive strictures. Pale garments may collect and so emphasize other materials of a work; the coal dust of “I’m a Ghost in My Own House” coats her white dress by the performance’s end.
What Suryodarmo wears for her performances is not incidental. Fundamentally, she clarifies, “The design should be suitable for the action, and the fabric should be comfortable.” Her garments are mostly self-designed and appear meticulously constructed. She often wears simple but striking gowns; as in her 2003 work “Alé Lino”, where, standing upon a plinth, she leans for three hours into a four-meter pole, the end of which is positioned against her solar plexus, a gathering point of nerves. The strong, clean lines of her black strapless silk dress emphasize the minimalism of the performance, the stillness within which tension, exhaustion, and pain must be building.
Sometimes Suryodarmo’s garment is a dominant element of a piece. In “Excuse me, Sir!” (2009), she moves through a Taiwanese Confucian temple, whose walls are inscribed with a text commanding the appropriate behaviour for women. The artist wears a black mask spiked with nails, seeming to express both the ease with which women can cause offense and an aggressive reaction against repressive strictures. Pale garments may collect and so emphasize other materials of a work; the coal dust of “I’m a Ghost in My Own House” coats her white dress by the performance’s end.
Melati Suryodarmo, “Ale Lino”, Gross Gleidingen, 2007.
Photo by Reinhard Lutz.
Photo courtesy of the artist.
Photo by Reinhard Lutz.
Photo courtesy of the artist.
At times her clothes expand to become part of the environment as in “My Fingers Are Triggers” (2007), in which the skirt of her brilliant red silk dress spills out over the floor into a large and clearly defined circle. This circle reflects the distribution of ten ceiling-mounted tension bands the artist has stretched down and affixed to her fingers, creating a scenario in which she exists as a clearly demarcated fulcrum between ceiling and floor, working to pull strings as they pull back at her. Throughout their various implementations, Suryodarmo’s garments are thin but significant layers that seem to fluctuate between being an extension of the body and a part of the body’s environment, complicating corporal boundaries.
Suryodarmo’s performance environments are often as carefully constructed as her garments. “In some of my performances,” she explains, “I need to create a certain environment that is merged with the concept of the performance. For example, the box-like construction in ‘Perception of Patterns in Timeless Influence’ (2007) was created based on the concept of having an isolated, separated situation. I performed inside a glass box to be able to have an intimate interaction with the seven rabbits that were there with me.”
The lit, windowed box that encases Suryodarmo and the rabbits (incorporated into the work due to their appearance in various mythologies) also separates her from the two other performers in the piece, an opera singer and violinist who at 20-minute intervals perform “Blute nur, du liebes Herz!” from Johannes Sabastian Bach's Matheus Passion. This introduces a patterned sonic background that Suryodarmo is immersed in and yet structurally removed from.
Melati Suryodarmo, “I Love You”,
performed for Event Festival, 2007.
Photo courtesy of the artist.
In “Lologue” (2014), a work that delves into gestures used when enacting power through public speech, the performance takes place on an oversized flight of bright, white stairs. These dramatically elevate the performer over the viewers and provide a striking contrast to her costume, a loose, black full-body suit covered head-to-toe with bells. “Lologue’s bells-costume was made to exaggerate the presence of power through the loudness of the ringing bells,” she says. “Bells are used in many rituals traditionally to awaken the spirits and to keep awareness religiously.”
This and other pieces underscore the importance of sound in Suryodarmo’s practice. In “Transaction of Hollows”, the walls she shoots at were specially constructed to amplify sonic impact so that each arrow strikes with booming resonance. In “Eins Und Eins” (2016), Suryodoarmo imagines a nation as a body with organs and repeatedly takes in mouthfuls of black ink, then vomits it out onto white walls. She groans but utters no words in an expression of nausea induced when silenced by repression. She cites “Exergie — Butter Dance” (2000), in which she dances in high heels on blocks of butter, repeatedly falling, as a piece that focused her attention on the power that sound could bring to a performance. “The first time I considered sound beyond being merely musical was when using the Makassar drums in ‘Exergie —Butter Dance’. I collaborate with traditional drummers from Makassar, and I see the sound material produced by the drums as a powerful vibration which can go through time.”
Melati Suryodarmo, ”Transaction of Hollows”,
commissioned by and performed at
Lilith Performance Studio, Malmo, 2016.
Photo by Peter Petterson.
Photo courtesy of the artist.
Music, however, was critical to the very foundation of Suryodarmo’s professional training, and by extension, to the development of the deeply cyclical nature of her practice. She famously veered away from studying international relations and into art because of a 1994 chance meeting with the renowned Butoh dancer Anzu Furukawa in Germany. She studied performance under Furukawa’s tutelage.
“Before Furukawa trained us in choreography and dance, Butoh and performance, she introduced a lot of music, from classical to avant-garde. She’s a composer, as well as a Butoh dancer; she studied composition in Japan. She used music to convey how the body moves and why we connect movement with music or disconnect movement from music. Furukawa introduced me to Steve Reich, Terry Riley, John Cage, and so on. For me, it was interesting to understand the repetition in music composition, especially in Steve Reich.”
Repetition has since manifested in numerous ways throughout Suryodarmo’s practice. At times it is clearly evident, as in the repeated falls of “Butter Dance”, the succession of arrows in “Transaction of Hollows”, the repeated titular utterances of “I love you” as she carries tempered glass. But Suryodarmo sees stillness, too, as fundamentally repetitive. The ‘tableaux vivants’ of 1970s feminist performance artists informed many of her works, such as “Alé Lino”, or “Black Ball” (2005), based on Egon Schiele’s portraits, during which she sits on a wall-mounted chair holding a black ball for eight to ten hours a day over four days.
“Before Furukawa trained us in choreography and dance, Butoh and performance, she introduced a lot of music, from classical to avant-garde. She’s a composer, as well as a Butoh dancer; she studied composition in Japan. She used music to convey how the body moves and why we connect movement with music or disconnect movement from music. Furukawa introduced me to Steve Reich, Terry Riley, John Cage, and so on. For me, it was interesting to understand the repetition in music composition, especially in Steve Reich.”
Repetition has since manifested in numerous ways throughout Suryodarmo’s practice. At times it is clearly evident, as in the repeated falls of “Butter Dance”, the succession of arrows in “Transaction of Hollows”, the repeated titular utterances of “I love you” as she carries tempered glass. But Suryodarmo sees stillness, too, as fundamentally repetitive. The ‘tableaux vivants’ of 1970s feminist performance artists informed many of her works, such as “Alé Lino”, or “Black Ball” (2005), based on Egon Schiele’s portraits, during which she sits on a wall-mounted chair holding a black ball for eight to ten hours a day over four days.
Melati Suryodarmo, “Perception of Patterns in Timeless Influence”
Performed at Lilith Performance Studio , Malmo, 2007.
Photo by Hana.
Photo courtesy of the artist.
Sometimes Suryodarmo’s repetitions seem to address how our quotidian cycles can feel laced with frustration, as in “Cruise Control” (2007), when she runs and launches herself into the face of a steep, grassy bank only to fall back again and again, or in “Why Let the Chicken Run” (2001), when she continually chases, catches, and releases a black rooster in a gallery space. In the dance piece “Sisyphus” (2015), Suryodarmo directs and choreographs a group of dancers in a meditation on the nature of cycles. “Sisyphean tasks are often seen as futile or stupid,” she proposes, “but what if he liked it? I believe that nothing remains in this universe, in this life. Performance art and its immateriality provide an important opportunity to experience those changes, and therefore each repetition is special because it is not the same as the one before.”
In developing “Sisyphus”, Suryodarmo researched shamanic rituals related to possession and how these might relate to Antonin Artaud’s idea of the “body without organs” as a process of becoming, both long-standing influences throughout her career. “My focus was not on mysticism, but on the phenomenon of the body when it is so-called ‘possessed’. In the process of learning and experimenting, I experience natural repetition. We have to turn ourselves in circles several times, and then we are open, and then the spirit comes, and we become.”
Whether occurring within minutes or throughout a longer view of history, the notion of cycles has an intense relevance to notions of tradition. Suryodarmo has lived with her own specific tensions around tradition, yet her personal experiences have generated perspectives with universal significance. She has often described how, as a Javanese woman practicing art in Germany, she was aware that overt references to Indonesian culture in her work would likely be seen as ‘exotic’.
In developing “Sisyphus”, Suryodarmo researched shamanic rituals related to possession and how these might relate to Antonin Artaud’s idea of the “body without organs” as a process of becoming, both long-standing influences throughout her career. “My focus was not on mysticism, but on the phenomenon of the body when it is so-called ‘possessed’. In the process of learning and experimenting, I experience natural repetition. We have to turn ourselves in circles several times, and then we are open, and then the spirit comes, and we become.”
Whether occurring within minutes or throughout a longer view of history, the notion of cycles has an intense relevance to notions of tradition. Suryodarmo has lived with her own specific tensions around tradition, yet her personal experiences have generated perspectives with universal significance. She has often described how, as a Javanese woman practicing art in Germany, she was aware that overt references to Indonesian culture in her work would likely be seen as ‘exotic’.
Melati Suryodarmo, “Exergie-butter dance”
Performed at VideoBrasil, Sao Paolo, 2005.
Photo courtesy of the artist.
Performed at VideoBrasil, Sao Paolo, 2005.
Photo courtesy of the artist.
And ‘tradition’, she says, is a contested notion. “I am one of the full products of the New Order era [synonymous with the reign of Suharto, 1966-1998] where the cultural strategies included the overwhelming of our national identity through tradition. In that era, the conventional understanding of tradition was maintained, including believing that every citizen must praise high tradition and become a cultural ambassador in the global world. I regret that this long-term practice has gradually reduced the real sense of living tradition itself.”
Though aspects of traditional ritual practices, particularly those of Javanese and broader Indonesian culture, are woven into Suryodarmo’s practice, they are deliberately applied in a functional rather than a formal sense. Archery, for example, features strongly in Indonesian mythology. But nothing about the bow and arrow she uses, nothing in her performance clothes (a simple, tailored white pantsuit), or the physical performance space of “Transaction of Hollows” would direct attention to this fact.
In “The Promise” (2002), Suryodarmo spends three hours in a red gown with hair extensions winding out across the floor, cradling a fresh cow’s liver. The large organ is a visceral object with numerous connotations. Suryordarmo refers to the Indonesian idiom ‘eating your own liver’, which translates roughly to ‘consuming your own pain’. Her primary research for the piece was focused on Durga, the Hindu warrior goddess (most prominent in India but also depicted in ancient structures in Java and other regions of Southeast Asia), on whom Suryodarmo reflects: “In short, this beautiful young woman, who slays demons seeking to be her lovers, and who exists independent from male protection or guidance, represents a vision of the feminine that challenges the stereotyped view of women found in the traditional Hindu law book. Such a characterization perhaps suggests the extraordinary power that is repressed in women who are forced into submissive and socially demeaning roles.”
Though aspects of traditional ritual practices, particularly those of Javanese and broader Indonesian culture, are woven into Suryodarmo’s practice, they are deliberately applied in a functional rather than a formal sense. Archery, for example, features strongly in Indonesian mythology. But nothing about the bow and arrow she uses, nothing in her performance clothes (a simple, tailored white pantsuit), or the physical performance space of “Transaction of Hollows” would direct attention to this fact.
In “The Promise” (2002), Suryodarmo spends three hours in a red gown with hair extensions winding out across the floor, cradling a fresh cow’s liver. The large organ is a visceral object with numerous connotations. Suryordarmo refers to the Indonesian idiom ‘eating your own liver’, which translates roughly to ‘consuming your own pain’. Her primary research for the piece was focused on Durga, the Hindu warrior goddess (most prominent in India but also depicted in ancient structures in Java and other regions of Southeast Asia), on whom Suryodarmo reflects: “In short, this beautiful young woman, who slays demons seeking to be her lovers, and who exists independent from male protection or guidance, represents a vision of the feminine that challenges the stereotyped view of women found in the traditional Hindu law book. Such a characterization perhaps suggests the extraordinary power that is repressed in women who are forced into submissive and socially demeaning roles.”
Melati Suryodarmo, “My Fingers Are the Triggers”
Performed at the "Insomnia - La Nuit Blanche", Le Generatuer, Paris, 2007.
Photo by Nicole Berge. Photo courtesy of the artist.
The mythology of Durga offers powerful associations, and yet Surydarmo opts not to use overt indicators of the goddess’s presence in the work, such as the familiar visual representation of Durga’s many arms. She explains, “I’m interested in learning from the traditional way of becoming and the presence in dance and ritual because traditional art normally has a social function and is less about aesthetics.”
The social functions of art can move through history and cultures very differently from how formal elements of art persist. While Suryodarmo was studying Steve Reich and Antonin Artaud in her early education, she was also researching how these artists, who so deeply influenced modernist concepts from which contemporary artforms have grown, were themselves deeply influenced by Balinese gamelan music. Though Artaud, in particular, is widely known now to have misunderstood many aspects of gamelan, this transmission of local tradition through countries, cultures, and artforms does seem to obtain some circularity in Suryodarmo’s work (though she is Javanese, not Balinese) in how she reconnects ritual and contemporary artistic modes. And it could be seen as an example of what she refers to as ‘living tradition’, which can incorporate change, generate unpredictable offshoots and metamorphoses — and which can be repressed or reduced in discourse to the exotic or the patriotic, risking its functional extinction.
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Melati Suryodarmo, “Why Let the Chicken Run?”
Performed at A little bit of History Repeated, group exhibition at Kunst Werke, Berlin ,2002.
Photo by Roland Runge. Photo courtesy of the artist.
The social functions of art can move through history and cultures very differently from how formal elements of art persist. While Suryodarmo was studying Steve Reich and Antonin Artaud in her early education, she was also researching how these artists, who so deeply influenced modernist concepts from which contemporary artforms have grown, were themselves deeply influenced by Balinese gamelan music. Though Artaud, in particular, is widely known now to have misunderstood many aspects of gamelan, this transmission of local tradition through countries, cultures, and artforms does seem to obtain some circularity in Suryodarmo’s work (though she is Javanese, not Balinese) in how she reconnects ritual and contemporary artistic modes. And it could be seen as an example of what she refers to as ‘living tradition’, which can incorporate change, generate unpredictable offshoots and metamorphoses — and which can be repressed or reduced in discourse to the exotic or the patriotic, risking its functional extinction.
Melati Suryodarmo, “Why Let the Chicken Run?”
Performed at A little bit of History Repeated, group exhibition at Kunst Werke, Berlin ,2002.
Photo by Roland Runge. Photo courtesy of the artist.
“24,901 Miles” (2015) features a large room full of earth. Suryodarmo moves around the space over the course of several hours with a mattress she sometimes rolls and carries, sometimes lies on. She periodically shovels dirt from one spot to another in what might be read as a futile Sisyphean activity. The title refers to the circumference of Earth at the equator — a circle writ large, the circle in which the pragmatic, psychological, and generational cycles of our own lives are inscribed.
As Suryodarmo has discussed regarding the work, a circle has no beginning or end, and so it is undivided, yet it can also mark a boundary between inside and out. “24,901 Miles” delves into the intimate, complex relationships between a shelter and a home and, as her practice as a whole, between emptiness and possession, connection and separation, and how bodies function within these tensions as containers that might seem, in relation to Artaud, to dissolve their organs only to regrow them again.
As Suryodarmo has discussed regarding the work, a circle has no beginning or end, and so it is undivided, yet it can also mark a boundary between inside and out. “24,901 Miles” delves into the intimate, complex relationships between a shelter and a home and, as her practice as a whole, between emptiness and possession, connection and separation, and how bodies function within these tensions as containers that might seem, in relation to Artaud, to dissolve their organs only to regrow them again.
Melati Suryodarmo, “24191 Miles”
Performed at the OzAsia Festival, Adelaide, 2015.
Photo by Riki Zoelkarnain. Photo courtesy of the artist.