In this exposition I investigate the tactics of interruption as methods of engaging with the institution through artistic research and approaches. This is developed by drawing upon Jacques Rancière’s concept of ‘dissensus’, Chantal Mouffe’s ‘strategy of engagement’ and Michel de Certeau's idea of 'tactics'. Art as a dissensual activity turns artistic research into a dissident research that can serve to question academic consensus rather than conforming to its established structure. Interruption becomes a dissenting gesture.
I use a fictional and fictitious publication as a tool to 'interrupt' institutions. In this fictitious publication, I have borrowed Lieutenant Fontaine from Robert Bresson’s movie, ‘A Man Escaped’, and have introduced him as a protagonist of 'interrupting architecture', investigating his escape plan as an activity of 'architecting'. The journey of this publication goes through two short architectural narrations of two places: a prison (as discipline) and a library (as dominant discourse). These two narrations are combined with three formulae: amateur, fiction, misperformance or disloyalty; each acts as certain characteristics of dissidence. Together, these aim to raise the question: How do tactics of interruption contribute to dissensus in academia?
The ultimate act of taking risk in life lays in the proximity to death. When a risk being taken is prone to fail, failure can potentially become the failure to live. These risky moments involve decisions, dreams, imaginings that motivate one to take action. The motivation is strong enough to push one to a fragile border between death and life.
In this exposition, I situate the discussion of risk in coal mines, investigating the work of coal miners as a craft through which they develop subversive modes of labour. The story in this exposition starts millions of years ago and gives a fictional geological history of Earth, where the formation of coal plays an important role in the planet’s evolution; coal becomes the political summary of Earth, where various moments of risk lead us down into a coal mine. Through a vertical structure poised on the edge of death and life, and by means of writing and drawing, risk is experimented with using concepts such as imprecision, the materiality of darkness, and the fragility of working with such materiality.