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AND YOU MAY ASK YOURSELF (AGAIN)


JACOB FABRICIUS

Most days people act as you expect them to act in urban environments, but sometimes we act and appear differently. When this happens the changes often pass by unnoticed.

Things around us change. Or we change things around us.

Sometimes these small, everyday changes take your mind into another reality, a stained reality.

To some people a new reality only lasts for a split second, but to others situations and actions may change the perception of things. Like a small word puzzle.

I am thrilled when I experience something, where I do not know what I am experiencing, no matter if it is planned to be that way or not.

When I notice stained realities I try to think about the situation, to solve it, to sudoku it – to get the meaning or system out of the given visual changes. Often changes and urban puzzles can not be solved, they will just exist – as you pass by – and remain as a small visual treasure or verbal pleasure in front of the viewer.The experiences that last 30 seconds driving by a billboard in Los Angeles (did it really say that, did I really see that, should I drive around the block again?), seeing a living ‘la Rambla’ sculpture two kilometres away from its ‘supposed’ environment or walking by a couple arguing.


Leopold Kessler. Diplom, 2004
Leopold Kessler. Diplom, 2004
Split seconds.

Changes that may wake as many feelings as the ones that are created over time. Small changes out of place are good. Small stains in everyday life are good. Small incidents where you ask yourself (again) …

Art in public spaces can have the same effect, sometimes subtle, yet razor- sharp moments, or political, and sometimes senseless and funny.

Now and then I wonder how people experienced Valie Export’s Tapp und Tast Kino (Tap and Touch Cinema) in November 1968, how weird it must have been to look at the people putting their hands behind the curtain, ‘visiting the cinema’ (a woman’s body was the screen) for five minutes…. or think about what the New York bus driver must have thought when Adrian Piper stepped into the bus with a piece of cloth in her mouth in her 1970 Catalysis VI  performance.


Pawel Althamer. Kapcie (Slippers), 2004
Pawel Althamer. Kapcie (Slippers), 2004   


What would I have said if I had seen David Hammons’ odd snowball Bliz-aard Sale display in a New York street in 1983? Would I even have looked at this guy selling snow balls? Would I have bought one out of pity? Would I have seen him as a homeless trickster with a funny twist? Well, I wasn’t there, so there is no use in speculating any further.


The images of these three performances have become icons of political street interventions and absurd otherness in art history, but to me the most important and interesting thing (which I guess will never be known) is what these actions meant to people who actually saw them without knowing what they witnessed and experiencened. What was talked about over coffee or dinner after experiencing and seeing these performances? How did the stains of Export, Piper or Hammons effect the conversation  in all those small homes?

Creating fictional spaces, staining reality or simply changing things around us is important. So people can ask themselves questions about what is real and how we experience it in urban environments.

And you may find yourself living in a shotgun shack
And you may find yourself in another part of the world
And you may find yourself behind the wheel of a large automobile
And you may find yourself in a beautiful house, with a beautiful
wife
And you may ask yourself – well… how did I get here?

Jaime Pitarch. Momentum, 2007
Jaime Pitarch. Momentum, 2007

[‘Once In A Lifetime’ (5:42) from the Talking Heads album Stop Making Sense, 1984]
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