Move in order to see
Site-specific installation. 06/05 – 18/05 2006
34 round “traffic” signs with a diameter of 60 cm. All have an individual white print on a blue ground.
The designs consists of text, some have in addition images, pictograms.
The traffic signs are mounted on lampposts which are approximately four meters high. The lampposts have an overall diameter of 12.5 cm. The lampposts have a very simple design, nothing is protruding from the poles, the light is contained within the poles. All the traffic signs have been placed with a height of three meters to the top of the signs, measured from the soil around the individual poles.
The lampposts are placed in a somehow organic continuity on both sides of a slightly crooked pathway approximately 100 meters long. The path is located at the terrain of Westergasfabrik, Amsterdam.
From the “Ketelhaus” it leads to the stadsdel kantoor (municipality office) of Amsterdam west.
Along and around the pathway there is, due to the springtime, a lush diversity of plants and flowers, large beds of blue, then mixed green and yellow, then white, etc.
The work is dealing with the complexity of contemporary human existence. Attempting to investigate the cacophonic character of our time, it is mirroring or answering to elements of the confusion surrounding us. In this sense the work is proposing emotional and philosophical navigation devices or waypoints.
The texts and designs of the signs are not operating on a singular channel, rather, they all have different “voices” so to speak. Some traffic signs are emotional, while others are cynical. Some are sarcastic, some are factual, some are poetic.
Some are communicating on a personal level, others on an official level, some on an authoritative level, others on a commercial level.
They are all voices in a dialogue suggested by the zeitgeist
Through the work I try to merge with the schizophrenia of this time, to synchronize my own personal setup with my surroundings, by isolating the aspects of my psyche that corresponds with general
tendencies. I try to become whole by splitting myself in to little pieces and rearranging the fragments in a neat, orderly framework.
In this sense the work takes on a “medical hat” by suggesting various identification devices.
Elements of my setup have been distilled, detached and converted to an eatable pill like form, ready to be used.
Let’s say then, that my function in this regard is to be another little filter for the collective consciousness, to be a transmitter and receiver in this cacophonic,
Persistent presence.
By rearranging the non-sense of reality, the work propose temporary, transient sense.
. The title of the work, “Move in order to see” suggests the idea, that it is necessary to navigate in between many, some contradictory, versions of reality in order to get a glimpse of the sense that Could/should be there.