/trʌst/2020-2022
|
Project design Carmen Line Hust
Photographer Nora Benz Editor Annette Ovesen Inspiration Hans Fink This project has its point of departure in the (missing, nuanced, doubtful, sceptical, submissive, affectionate, dramatic) trust, as being the core foundation of (a dynamic) humanity. During the pandemic, I’ve collected chairs from the streets, the garbage and any place, where someone has left a chair behind. In the process, I’ve been reflecting upon how we (during these pandemic times) pass each other objects, share stuff, without being together, and how much it really affect those of us living in dense cityscapes, yet divided/separated and isolated - and how little these objects, things and props really mean in the absence of absence of intimacy and personal presence. The chair, as an object, is both functional, caressing (armchair), practical (highchair), ergonomic (wheelchair), comforting (rocking chair), safe (auto chair) among many others. |
Common in the concept of all these chairs, is our trust that the chair will carry our weight and sustain or support a given need (to rest, to sustain, to uphold, to comfort), initiated in the interaction with the exact chair. Unlike other objects, the chair, once broken, is replaced. And why is that? Because it has failed and, once broken, we fail to optimise our belief that ‘it is as safe as before’. In Danish ‘a chair’ is linguistically ‘en stol’, while to trust something is ‘at stole på’. Literally the chair, in Danish, is a symbol of the trust we mindlessly ad to the chair as an object, and to each other in society, when depending on others and their behaviour during times of crisis. To talk of trust, along with mistrust, as a binary composition in which one does not exist without the other, has become a highly relevant matter in these pandemic times. In the media-nest of fake-news and conspiracy theories, it has become utterly difficult to navigate in the over-flow of (mis-)information. |
Installation
|
The first intervention, dated 26th of September 2021 (Aarhus, central Denmark). Installation projected in urban space as a product of its own inheritance - its own left overs from a period of mistrust and fear, the installation seems to reunite the urban space in a new kin of togetherness. A unite of all shapes of chairs, or people.
Due to the fact, that the chair, as an object, is both functional, caressing (armchair), practical (highchair), ergonomic (wheelchair), comforting (rocking chair), safe (auto chair) among many others; it to me seems to represent mankind and our personal capabilities. The piece, is a piece in progress, and can take various shapes, adapting the exhibition (eg. space, that being urban, natural, white cube). The piece can be mounted on the floor, hung from the ceiling, stretching from wall to wall in a horisontal, diagonal or somewhat other organic shape. The installation is dynamic, representing the person, who lived with/sat on the chair. |
|
|
|
|
Reference
Hans Fink (b. 1944): About trust, mistrust and professional ethics.
Hans Fink (b. 1944): About trust, mistrust and professional ethics.