Non-places, in virtue of their nature, are places of our absence, places without direction and boundaries; by adding physical coordinates to them, we risk losing their enchanting purity and the impossibility of being inherent with them; at the same time, they are a buildup of innumerable number of spaces generated by personal experience of their immediate visitors
Non-places, or spaces of our absence, were chosen as places where a person does not associate her / himself with the surrounding processes but is in a moment of relocation. Thus, it is precisely at these moments it becomes possible to observe a person who is immersed in his / her own sensations and experiences, but has not yet explicitly reflected them. The internal monologues arising at such moments become the link between the pure form and conscious reflection. In a sense, they turn to be a prototype of one's identification in the surrounding reality, and the basis of future relationships with the surrounding reality.
Non-places, by their mere definition, are empty and do not suppose interaction with man; they just fill voids in people's needs at public places;
The performance act of inviting a person to a non-place implies an attempt to immerse into it without physical contact and information about it: no temporal or historical context of a 'non-place is possible; 'non-places exist in their form and in their own time.
Collecting a visual library of 'non-places affiliated with different countries and different people; I want to understand if they have something in common, whether they have a physical form; if they have a real incarnation at all; and if individual non-places are only man's reflections in a public space, we, if making them publicly available, condemn them to loss of sacredness specific of 'non-places:
Exploring the change of non-places at the moment when they get a fixed place in space, that is to say, a definition; deciphering space in this way, we risk reducing space to a deadlock; at the same time, allowing a visitor to a previously imperceptible space, we enable him to balance between -1 spaces and the spaces of his/her own knowledge; we create places that allow us to develop our own glossary of reasoning; places similar to rhythms; places similar to pauses before a prelusion.
guide book non-place
size 210*130
54 pages
Japanese binding
Creating a guide book, I wanted to create something like a garden where every element is a symbol, not an illustration; depending on the aspect, every person receives the information he/she wants. Answering the questions that have no answers in the book, the reader ceases to be an observer but gets into the moment of mundane relocation. It is like a character whose voice you hear at the moment of audio-relocation.
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When I was working with 'texts' viewed as 'voices' of people and combining this with my own texts - trains of thought, an idea entered my mind: creating a certain journey to a non-place, and the book format became an 'invitation' card.
Audio guide - a guide to other people's non-place.
The observer, immersed in someone else’s inner monologue, through the effect of presence gets the opportunity to better understand the relationship to reality, and to recognize the blurred boundaries of other people's personal spaces in a non-place.
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As a part of observation of internal monologues makes it possible to identify the space of translocation not just as a physical object, but as the space of interaction of internal monologue, merging into a single landscape, but at the same time being meaningful separately.
