Now on show
by Christina Ntanovasili
>On Friday, the 1st of March, at 17:00 the exhibition will be open for a more intimate presentation of the work and a talk by Christina Ntanovasili. Please come, flip through the publication, and join us for drinks and further discussion!<
HOW TO TURN A HOUSE INTO A BOOK is the response to a window, an address, a sleeping space, a working space, curtains and doors, tense wires of past and future curtains, hanging, a door with a lock with a curtain, a bed with a door as a frame, the sound of the blinds, a made up entrance, with holes on top of doors, three ladders, cream, pink and pistachio green, pipes disappearing, the heat from underneath. The work is a matter of documentation as translation, of the traces of use, wear and presence; of what makes Rustenburgerstraat 385 (also) an interior.
A material translation in five volumes and a site-specific text.
With the documentation of the house edited as a publication -from frames to pages- and the movement in space translated into the page-turning motion of a flipbook, I wonder what can be grasped to share publicly, what a private publication, so to speak, could be.
What I have learned with the book-making process of this translation is about the specific intimacy that makes this space what it is. The particularities can only be personal, intimate, but simultaneously they offer an interpersonal experience, a way of coming together. A collective conception instead of an abstract perception.
So, how can we conceive of this house? Perhaps, by way separation is enabled. By doors, curtains, permission to enter or stay put, all of which feel implicit. The locks are there, as there are curtain rails, blinds and ladders. It is intriguing not to see the house according to its function -an interior questioned by a public show window- nor according to the ingenious ways that make it function. I was inclined to think of the house as an example of what life in space can look like. Which is not only a matter of visibility. The window, after all, is omitted from the work, as well as the walls.
Making some of the space public, was not to expose or make it explicit, but rather a transfer from one volume to another, from interior to paper. Not a matter of adjusting scales, from space to an object, either, but an attempt at conceiving what seems to escape real time and real space.
...what seems to escape real time and real space.
A material trace was left behind from Sabrina Huth and Ilana Reynolds’s performance work titled ‘You are here’ (see Archive). Written on the window glass, the trace of their past presence YOU ARE HERE converses with the title of my work, ‘Rustenburgerstraat 385’, which is the name of the address of this particular here where you are. Or one was or might be. These ‘interpersonal fictions’ within titles and address names are realities as well. They do not superimpose space, they too have volume, like a speech bubble, and help bind matter into place, like papers touching bricks and rocks do, in suspense.
Christina Ntanovasili (1989, GR) was trained in architecture and currently is completing her master degree in arts and culture. Her work and research concern notions of space, language and paper.