The Fence is a thermal space based on a strong feedback loop. What we are dealing with here are two systems working together and feeding on each other.
The ZOO on the other side is more important than the problems of those who were forced to participate in it. Perhaps we are not the observing party here? We are granted status of “observers”, yet we do not know if we still maintain the right to self-ownership. Once the viewers no longer are considered citizens, they become mere consumers; and when consumers become victims, no one seems to care much about them. Narcocrridos ignore the genuine victims; what is much more important is to become someone who is being watched rather than someone who watches.
An important factor here is nostalgia for places where one once lived, spent one’s childhood, has grown up as well as strong identification with the characters, on behalf of both children and adults audiences. Watching narcocorridos is one of the favorite family pastimes. Not even the fact that the family audience of narcocorridos sits inside a luxury concentration camp can spoil their fun.
I’m trying to modify the very concept of a fence or a boundary, because as such they no longer serve their former function. A fence or a fuzzy boundary like one we encounter here definitely needs to utilize the language of a soap opera. The color of wire fence encourages trespassers to cross it. The perception of reality has long been adjusted to that of narcocorridos.
It is pointless to take sides here. Both sides fluctuate into each other. What is certain is that it is better to watch a Holocaust through a fence. There is a suspicion bordering on certainty that we are stuck in a place that is being watched from the right perspective. Maybe it is us who betrayed narcocorridos? This becomes a norm in culture of illegality.
Behind the fence a plain glass neon light is located. The fence is made of neon wire. Its height reaches one-third of the height of entrance to the Palacio Nacional.
Narcocorridos
Installation.
Fence, Plain glass neon light, neon wire.
year: 2013
The Fence is a thermal space based on a strong feedback loop. What we are dealing with here are two systems working together and feeding on each other.
The ZOO on the other side is more important than the problems of those who were forced to participate in it. Perhaps we are not the observing party here? We are granted status of “observers”, yet we do not know if we still maintain the right to self-ownership. Once the viewers no longer are considered citizens, they become mere consumers; and when consumers become victims, no one seems to care much about them. Narcocrridos ignore the genuine victims; what is much more important is to become someone who is being watched rather than someone who watches.
An important factor here is nostalgia for places where one once lived, spent one’s childhood, has grown up as well as strong identification with the characters, on behalf of both children and adults audiences. Watching narcocorridos is one of the favorite family pastimes. Not even the fact that the family audience of narcocorridos sits inside a luxury concentration camp can spoil their fun.
I’m trying to modify the very concept of a fence or a boundary, because as such they no longer serve their former function. A fence or a fuzzy boundary like one we encounter here definitely needs to utilize the language of a soap opera. The color of wire fence encourages trespassers to cross it. The perception of reality has long been adjusted to that of narcocorridos.
It is pointless to take sides here. Both sides fluctuate into each other. What is certain is that it is better to watch a Holocaust through a fence. There is a suspicion bordering on certainty that we are stuck in a place that is being watched from the right perspective. Maybe it is us who betrayed narcocorridos? This becomes a norm in culture of illegality.
Behind the fence a plain glass neon light is located. The fence is made of neon wire. Its height reaches one-third of the height of entrance to the Palacio Nacional.