Jacques Derrida understands the trace as the most minimal form of ‘life’, which is the constitution and preservation of meaning/identity, (phenomenological conception). A trace is a mark in the here and now of something else, of something not-here and not-now. Derrida wishes to proclaim the trace as being fundamental. Now, this is tricky, because a trace is inherently non-fundamental – it is, by definition,the result of something else, it points beyond itself, it has its origin elsewhere. The trace is an irreducibly complex structure of presence and absence.
Session in the studio after a long break, due to Maiden Speech performance series in which I have explored the ideas of my 101 in a collaborative setting.
Being back in the studio first of all teaches me that the space becomes my environment, my Biotope in which and with which my work unfolds. It is not just an utilitarian relationship but it is symbiotic, I look at the space, I analyze and trace what might have happened before, I touch it and exchange energy, microbes and bacteria with it. All the elements that are already present here are part of my work, wether I know it or not, so I have to explore it every time over and over. SITE-SPECIFICITY really becomes the core of the work, because ‘nothing comes without its world’. I found some holes on the walls and I asked Max if he knew how they were made (for a moment I thought that they were gun shots), but he reassured me that most probably these holes come from the objects that might have collided against the tiles, while people were working on trams, when it was a BVG depository.
Compilation of photographs of traces that I found during my exploration of the concept outlined by Derrida.
The places featured are: Riserva naturale della Mola (IT), Torre Flavia (IT), Venice (IT), Moulin Scalagrand (FR), Uferstudios (studio 9) Berlin, Neukolln Berlin.