|Trespassers Will (Not) Be Prosecuted|
2008- , multi-channel sound installation, speakers, cables, sensors and audio, dimensions vary with installation.
The project seeks to summon 'false memories' via a forest soundscape. The work questions the notions of materiality in terms of the taboos and if "taking sounds" falls within the scope of the belief. It draws from the sounds collected from Law Kyntang, the sacred forest in Meghalaya that has emerged as unique ecological system based on a traditional belief system and not on any laws or regulations. Here, destruction of any plant or animal life or taking any object from this forest is forbidden.
The installation's conceptual point of departure is critic / theorist of technology Paul Virilio's definition of 'space'. He points out that the limits or boundaries of the city itself have come into question, largely because of new informational and communicational technologies that introduce a novel idea of space, i.e., space as virtual, dematerialised. He also points to the relative devaluation of a physical idea of space and place.
The work seeks to summon 'false memories' of nature via the soundscape of the sacred forest, invoking the idea that on some primordial intra-psychic level we 'remember' our earlier existence in any particular location and site, hypothetically once a forest, as 'natural' beings, not of the urban fold. The installation focuses on the dialectic between the soundscape and our memory of that vital, precious and perhaps irretrievably lost space.
The central idea of this work draws from the value of sacredness, and how it is transported without changing the value, what Deleuze refers as to the process of deterritorialisation.
This work explores the relationship of architecture, spatial perception and the concept of non-narrative musical form were essential to this sound installation, that attempted to use to use sound as an alternate way to map physical spaces via creating a subjective 'ideoscape' in each observer / listener's mind. This internal soundscape catalysed through a public site, with subliminal notions of memory, ecology and geography experienced through the auditory mode rather than through the visual, simultaneously compelled a realigning of sensibility to the external space. Thus the passive, fixed public space is reclaimed and rendered dynamic with the use of technology. The introduction of the interactive element serves to create a relation of the passerby's body to the forest. And also explore the notion that the world comes into existence only in relation to a viewer or and audience.
Trespassers will (not) be prosecuted 2011 @ MAXXI – National Museum of the 21st Century Arts, Rome DOCUMENTATION