video & slideshow
»Traps« (Trapping series)
Kinetic installations & objects
2018 — present
A DIFFERENT VIEW ON TRAPPING: FROM ENVIRONMENT TO OBJECTS OF THE INNER WORLD
Originating from a research about trapping methods, this body of work makes use of site-specific aspects and combines performative and installative manners to prompt interaction between the people and their surroundings.
Intrigued by the relations between society and the city — how well-rehearsed routines, gestures and agendas manifest in or as our environment; how ubiquitous structures almost turn invisible — I see the mundane, inconspicuous object as a story-container and facilitator of the interpersonal. In order to investigate these relations of environment and perception, I use given, found or mass-produced things. Simple modifications allow me to question their propensity and perhaps, uncover stories and built-in credos of the object itself.
The ecology of trapping
The undertaking of "trapping“ goes beyond catching other beings/creatures against their will. Coming up with a convenient trap requires careful observation of the environment and its inhabitants, their behaviour, needs and desires – which are all linked with each other through interactions, shaping each other along the way. A trapper does not only have to understand what to trap, but also what not to trap.
Trapping appears to inherit rather archaic functions, reaching as far back as to own incarnation. Observing, tracking, testing baits and construing a device to catch, frame or kill – its methods are often depicted as to deceive and “outsmart“ the others, to prevail in the bloody tournament of evolutionary struggle, reinforcing this rather gloomy view on (human) nature. Over time, its approaches and strategies have carried over to a variety of fields and engrained itself in our epistemic culture and the globalised, contemporary society: From music to marketing, from casual rodent traps to detectors framing sub-atomic particles.
With these works, I oppose a "different trap" as a model to reconfigure how we think of trapping and to question its apparent, hierarchic and moral tendencies. Thinking about its fundamental aspects and evolution, both its mechanical and psychological features in different contexts, the research led to interactive practices and relations to environments and artifacts. The kind of trap I imagine works as a socio-technical apparatus, which cares about all beings involved rather than assigning a specific, dominant side. As an artist, it means letting go of control.
The traps are tactile spiders which use triggering and setting up in a playful way to break the monotony of our routines. Its web links different objects, structures and attitudes to seduce and involve the people, not for the kill, but to help looking at things differently.
Ah and of course, the works are about ghosts, which are present and the ones who move things around.