Ghostdramatic set
From the day I started my doctoral project in the Theatre Academy of Helsinki - which is a theatre and dance production house as well as being an art school - and during the following four months, I would document systematically the temporary presence of residual/pending sets/construction material in the foyer (tori) of the academy. My attention towards those ‘objects/matters’ was triggered by the way that these disassembled and latent elements of set, of future or past shows, would seem to appear at the same time as they would withdraw themselves in this in-transit-ness in which they are supposed not to be noticed as significantly ‘present’. I got more and more interested by the hollow theatricality of the off-ness of these deactivated theatre matters, spaced in the temporal periphery of the ‘now’ of the show, in the ‘after’ or ‘before’, in their double undecidable paradoxical quality of, at one and the same time, remnant and reserve. During one night, when the theatre academy would be closed, I projected on the large white molleton curtain that was used to conceal the technical/material storage in the tori, a selection of 25 shots chosen among the hundreds of photographs taken in front of the same curtain. The actual roll on the floor by the screen-molleton, which can be seen in the documentation of the projection, is the residual roll of fake grass that I used in my first examined artistic part's installation The Theatre Season REDUX to cover the whole floor of the theatre space.
