Pasolini was often criticized for commenting on a class he did not belong to.
Taking this notion and looking at Pasolini’s methodology as a starting point, we asked ourselves, what are the ethical issues and the power dynamics associated with sharing stories in which the artist is a mere observer, or when the subject is distant both from the public and the artist in terms of socio-cultural background?
In order to articulate our research, we will employ three specific concepts: Observer, Barrier, and Image.
The observer can be both the creator and the consumer of an image.
The image is the final output of the creator.
The barrier - the very notion that this research project seeks - constitutes the distinction/ the distance that is ultimately created between the creator and the subject of its observations.
Pier Paolo Pasolini punches a young fascist in front of the cinema Quattro Fontane in Rome, 1962
Exercise Script
Tools present:
VR headset with ‘The Archive’ installed.
Colored pencils or markers
Exercise sheets
A large space, with minimal tripping hazards
Participants
Exercice instructions:
A group of participants will enter a room equipped with exercise sheets and art supplies. One individual will step forward and don a VR headset, immersing themselves in a virtual museum filled with diverse artworks. Their task is to vividly describe the pieces they encounter, avoiding explicit details such as names and artists while steering clear of literal interpretations.
Meanwhile, the remaining participants, stationed at their seats with exercise sheets and drawing tools, will rely solely on the verbal descriptions provided by the VR user to create their own artistic interpretations. Importantly, they will not have direct visual access to the virtual artworks.
After the creative process, the final artworks will be showcased without the other participants ever having seen the original virtual museum. This intentional separation introduces a distinct barrier between the audience and the source of inspiration, fostering a unique dynamic of interpretation. The participant's drawings are challenged by their reliance on an indirect interpretation of reality, while those viewing the final artworks confront the mystery of the original VR experience.
Project conceived and workshop conducted by: Dea Khalvashi, Eva Swennen, Federica Martinelli Leto Keunen May Elimelech, Mira Dekens, Robert Poot