Day 6 - May 10th 2019
When I have audienced the event for several days and the attendance seems to consist of several acts (days), which alternate with intermissions (nights). The event however does not become absent on intermission either, but lingers in the audience member's awareness. Even when not being at the event, I am at the event.
The whole event has been coloured with social tensions, unverbalized for the most part. The artist-researchers are cautious of their actions, they create limitations for each other, abide by implicit power structures and quickly remove any traces of their practice from the sight of pavilion visitors.
From the perspective of audiencing them, it is an emotionally catchy dramaturgy at least. The intentions of shared processes and exposing practices sprout and wither, rise and fall, ignite and die out. It has a dramatic flavor.
The general implicit instruction is "don't touch". This is code of conduct is adapted from fine art gallery context. Objects, images, video projections and words are on walls and tables of different kinds and they are spectated. Words are read, and audio files are listened to with headphones. The routes that are traveled in the space are instrumental to this spectating, reading and listening. The audience position is vertical: standing and walking. Any of this is rarely questioned.
However, earlier I attended the pavilion through the perspective of a humanoid. Then it appeared as a place where humans try to communicate, express or dialogue about the world as it appears in their consciousness. Usually, especially in everyday life, the "physically" sensed world with subjective locality and chronological time is considered reality. What takes place in the mind of the humans does not however follow this model of reality at all. The pavilion seems to consist of expressions of this varied and multi-form reality: images from other times and places, conceptual constructions extending across different levels of cognition, intensities of absence. A thought emerged in this contemplative state that science might touch the same modality, but mostly through such narrow perspecives that the ambiguity and un controllability of these entanglements will not be touched upon.
But also here, we are not encouraged to touch.
Within the research cell Through Phenomena Themselves there are mostly evolving material structures. On the big wall there is an A5-sized drawing fo a chair, three small Serendipity-cards with the image of a camel, two A3-sozed papers with a not "Tick Variation, number 1, 9 May 2019, Saara Hannula & Esa Kirkkopelto", two A4-sized photographs of walls, two minimal constructions thin plywood, a small photograph of the other one and a small not saying: if there was a spotlight hitting the object from the left, how would the shadow appear like?" On the floor next to the wall there is an image of a floor, some parts of posiibly wall-material and seven A4-pages of "Notes of an Audience Member".