Multiple interactions, accidental or intentional, some of which have been created even before the actual art peace was made are encompassed in the project. Knowing the photographer, her passion, interests and ways of photo communication, it was of no surprise to me when I saw the results of her spontaneous action. The curator and the artist, being friends, were/are involved in continuous interactions; the question of trust, beliefs and truth are doubtless and reliable.
But, the relationship that evolves between the artist and her object/subject is of completely different nature. Although picking an innocent theme – an old bike – context suddenly becomes strange, unexpectedly introducing a second actor. A few levels of interaction evolve; selected object (the bike) is rearranged not by the photographer, but by his owner (an old man), who introduces himself into the story. He becomes a killing factor of the retro narrative; instead of creating nostalgic, romantic interpretations, the photographer exposes herself towards the intruder and enters the unexpected, but very revealing interaction.
The level of representation is different from the level of action; the truth reveals itself not the visibility of the object (bike) but through the interaction with the other, the subject (the old man). The expectations of the artist are opposite from the truth hidden behind the charming old chap. What is the real story; the one told by the photographer, her personal experience and interpretation; the one mediated by the appearance, the concrete visible reality; the story of an old guy or the play the curator is developing from the given artistic work.
These are also the levels of responsibility. By introducing the documented situation to the wider public, what are the consequences in the moral, ethical sense? Clearly, the key question is not about aesthetics; maybe it is about big gestures transformed through the every day experience, through something that could be hidden behind so many charming, innocent faces we casually meet or interact with.
The project is about exposing, not exhibiting, about truth, perspective, level of participation. They are not philosophically transmitted; they are just modelled by different spectators in order to accentuate or question the reliability of beliefs, identities, attitudes, etc.
The beauty of the art peace is that it gives options of choosing the personal level the viewer is ready to put in the participation; she/he can freely decide which mode is the right measure, but with awareness that every choice has its ethical consequence.
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