Marika Asatiani  11 currents of air

Marika presents place and time as a process, exploring not only one position, one perspective but a passage, which escapes localization and needs to be endlessly articulated. In Probe she defines time in a virtual space by using static objects in a semblance of motion.

How different was it to work in the space of Probe compared to other Exhibition spaces?
When I started working in Probe, soon after, I realized that my perception of what I was working on was completely misleading; I needed to adjust my senses to the unusual dimensions of the space. I did not realize that what I see is not what I get in the end, since the camera lens did the real perceiving and not me. So, I had to rely on ‘the other’, on the camera on a tripod as the ‘truth’ seer, because its height was adjusted according to an average viewer in the scaled space. Also, I became acutely aware of my body while installing the work – my each movement had to be measured and restrained not to damage work already done and the fragile ceiling. Entering the door of the space required a very humble bow and a crawl through the opening, so, I really felt like Gulliver in the country of Liliput, or a kid playing under the table covered by a blanket, which was quite refreshing. 

What did you want to create?
I’ve been interested in space that functions as a container  for multiplicity of possibilities, places, and the occurring changes; something that has a potentiality and can be unfolded.
I am trying to present places as process, rather than something static and physical; exploring  not only one position, one perspective, a fixed center but a passage, which escapes localization and needs to be endlessly articulated.
I got the idea for this work when I first saw the space of probe. It came quite spontaneously. I had been interested in the arrow and turtle paradoxes of Greek philosopher Zeno for some time, so, this installation refers to him as well.

What obstacles did you run into?
First, I had to adjust to the different scale of space and get used to it. Secondly, I wanted to make strings where the black tubes are hanging as invisible as possible; I got the thinnest fish wire possible, which was perfect, but which was also invisible and slippery for me, so it took me more time and more effort to hang the tubes. After setting up the work, with all these strings criss-crossing the room, it became even more difficult to move without touching the piece and trying to photograph it from different angles. So, I really had to be as flexible as possible – crawl, stretch, bend, curve.