The complex psychological influences [effects] of the piece arise from the alternating projection of interior and exterior images, both of which are covered by [screened by] incessantly falling rain. The hypnotic sound of the rain, occasional rolls of thunder, and the crackle of static electricity accumulate in a space of non-action [inaction], strongly creating the sense that something is about to happen. The relief of this audiovisual sculpture consists of a few tightly grouped fragments, which in turn are meant to be viewed [appreciated] in their temporal and spatial dimensions. Photography and animation here unite to diminish the effect of the photograph as documentation of the past, a fact which creates a visual and psychological platform for the present [for present events].* The images of Platforms for Events do not aggress the spectator; on the contrary, their emptiness provokes a difficult sense of our own interiority, not as a document or fantasy, but as a real place [site] where events can occur [a place where something can really happen].
*Coming to terms with a difficulty experienced in the past requires a liberation from this experience, the healing of an image with which we have been obsessed. But writing, to the contrary, supposes an interior voyage that borders on illness. (Afterward, S.L. Folkine, Russian translation of Giles Deleuze, “Critique et Clinique”, St. Petersburg: Machina, 2002, p. 230). I have taken the liberty of extending this citation to photography and animation. In the first instance, it is a question of animation; in the second, photography. A child’s first steps are accompanied by drawings that open on the future; by contrast, the dead leave behind a photographic record that takes us back to the past.
Koka Ramishvili, 2004, Geneva
On ‘Good Morning’
Good Morning! is an invitation by the artist to participate in Platforms for Events: accumulating a prolonged sense of emptiness whilst at the same time creating a growing expectation that something is about to happen… Photographic projections of interior and exterior images are covered with incessantly driving rain, frozen images from the past are stretched within the noise of the passing present. It is a very personal work born out of the artist’s transitional state, out of a delirium where his relocation and dislocation come together. It is a work generating an empty square stretched within one’s personal limbo; in between past and present; in the space of obsessive ‘saved’, or ‘time-frozen’ memories and their recollections, within the hypnotic noise of rainfall and the blinding animation. It is a work made out of ambiguities and passions, where documentation and fiction, pain and imagination are fused with each other. Good Morning: when all the signs in it show the opposite: an ominous night; and a work which comes out of night, a very dark electronic world merged with the dream world: half real, half fiction. Good Morning: far from breakfast show clichés, not what we usually expect… and again Good Morning, which leads us nowhere but in here, to ourselves, to our place and our time. This is a work to mediate and meditate with, as the artist invites: ‘The images of platforms for events do not aggress the spectator; on the contrary, their emptiness provokes a difficult sense of our own interiority, not as document or fantasy, but as a real place (site) where events can occur (a place where something can really happen)’.
Keti Japaridze, art critic and curator Lives and works in London
Département de l`Instruction publique du Canton de Genève and Fonds cantonal d`art contemporain de Genève.