Actors of the same yard

Work in progress
Table (MDF-plate, iron-pipes) with texts printed on papers, recording of a reading of letters on a dictaphone, images hanging on a thin line. Text and image materials: Jeremy Bentham’s correspondence letters, reenacted manuscript, images of the park photographed of the film Blow-up (1966), image of drawing of Panopticon, image from work in studio, selected part from ”dictionary for library and information science”, selected part from article in The Guardian.

In the 18th century Jeremy Bentham created his construction Panopticon which with its specific architecture erases the borders between being seen and not seen, in this project there's a focus on the prison construction as an invisible artifact, since Benthams project never got realized. During my search of possible sites of where Bentham tried to realize his plans there’s an area in south-eastern London (the particular area was back then named Hanging Woods and was mostly consisting of forests) that have been of interest to Bentham. The area today are mostly suburbs of London and parks, but one particular spot was a park named Maryon Park; situated well of where Bentham wanted to realize his prison. At a later point during this projects process there’s an discovery that Maryon park is the same park as where the murder-scenes in the film Blow-up (directed by Michael Antonioni, 1966) was recorded.
In these particular scenes of where the park has a role, we see the main character (a fashion-photographer) sneaking around with his camera taking images of a man and a woman interacting with each other. When he gets home, he processes his film and notices that there is a person hiding in the bushes with a gun pointed on the couple, suspicious as he gets, he returns to the park and indeed finds the man murdered. He also realizes he is the one with the evidences of the crime. In the end of the film, he travels back a few days later to see the corpse again but it was no longer there. We are also starring a mimed tennis play, where two persons are hitting an imaginary ball between each other.

Two contingent subjects in time are meeting through the shared space of the table where they are sorted out as evidence-materials for an investigation, evoked by their shared space of origin; a park in southeastern London.
A reading of the Panopticon can suggest an ”embodiment” of the gaze; it can both be unavoidably permanent and unavoidably imaginary, something that was intended through the architecture.
In the film (Blow-up), the main character is using the camera as evidence and the recording camera itself is at points using films ultimate potential; in likeness with the eye and as an extension of it, creating movement to what is not necessarily visible*.
Held in the threshold(s) between image and event, this coincidence turns to an associative investigation where interpretations of the methods and functions within the materials are used as metaphors for the creation of the work itself, of how the associative puzzle is added; where the materials meet. A panning story that deliberates this specific sites context and that reformulates its toward fictional tendencies are created, thriving on the paradox of the investigation itself.

*As mentioned, we are in the end on the film following mimics playing an imaginary  tennis-play without a ball. We who see the film, are lead by the cameras movements as it follows ”the ball” track across the tennis court.

The encounter of the work is free to pick up, meander through the texts and search for the markers in them on the table.

Kim Svensson, 2019