5. In lieu of a conclusion
During the first cleaning of Pierre Bamford’s bleachers at cONcErn we noticed the inherent sonic qualities of the structure and realised shortly after that we had just found a new body for our parasitic devices to colonise. Developed in 2009 for our intervention at the Fondation Avicenne in Paris, the result of this colonisation was also the direct encounter of two complementary projects, ParaSites and cONcErn, both of which might be understood as an affirmation of an inextricable link between artwork and context. What is more, this encounter, at least for us, engendered a new scenario: the parasitising of an invited guest (the bleachers) within a particular host milieu (cONcErn). But can we still speak here of a parasitic relationship, or is the sonic activation of the bleachers, which in turn constitute a suitable host body for ParaSites, not more like a symbiotic scenario? A symbiosis which is catalysed by the specific parameters of a potentially new mesology – or, maybe better, ‘mesosystem’ – of art, for art, and through art?