Prague Quadrennial 2011



From the Curators:


How to be a Good Witness

Communication is an invitation to misinterpret the other. Linguistic translation circles around this impossibility: Caught between verisimilitude and sense, it attempts to reconcile both, knowing it cannot fully capture either. The space between different languages is mirrored in the gap between different forms of artistic and spatial practice. Making a map between a heterogeneous series of different intents (drawings, photos, performance, texts) is never a simple matter, while the map that emerges resembles the cartography of unexplored continents, filled with blank spaces and riddled with blind spots. Our project involves a game of “Chinese Whispers” at the scale of the city, structured around the impossibility of making a map of the city and its streets, between people and their artistic practice. The blank spaces are not understood as empty zones to be bridged; rather, they are filled with productive potential. They become spaces for a type of translation based in fantasy and speculation. At the largest scale, the project is a machine for procurement, recording and distribution. Its object is the scenographic potential of the city. At the scale of each node, a single participant is installed in the machine and caught in a circuit of invitation, translation and communication with his or her neighbours. Their objective is to make a singular point in the city.

The Provocation

The script (left) + The event (right)

Camera obscura photograph, by Jack Dunbar & Tosha van Veenendaal

Project Details


Status | Completed 2011

Context | Prague Quadrennial, Australian Architecture Section

Curators | Adrian Lahoud, Sam Spurr, David Burns

Photographers | Jack Dunbar, Tosha van Veenendaal

Team | Alina McConnochie, Erik Escalante

Website PQ11 | website-n