RtmiS - Artemis Diana Tsantekidou
Soundscapes and Daydreaming
“Nothing makes time pass or shortens the way like a thought that absorbs in itself all the faculties of the one who is thinking. External existence is then like a sleep of which this thought is the dream. Under its influence, time has no more measure, space has no more distance.”
The theme for 48 Hours Neukölln, Future III (Future Perfect Continuous Passive) exeplores time, and our relationship to it, in a multifaceted manner. Whether physical, metaphorical, emotional, spiritual, linguistic, or aesthetic concerns become the primary motivator or point of departure of this exploration, this complex notion of time and its passage allows for a multitude of questions to be addressed and conceptualized. Described in the curatorial statement as a “look back at a future that has already passed”, we can begin to understand the conundrum that time-space problems introduce to our understanding and interpretation of our world.
In Soundscapes and Daydreaming, Artemis Tsantekidou presents an interactive installation that reflects on issues of time, and an emotional state of being as it relates to our understanding and experience of the “now”. In this way, a fundamental question hinges on our relationship and acknowledgement of the present. What is the present, and how can we be attentive and aware of this moment? If we are occupying this distinct space between past and future, can these two components of time cease to exist or become temporarily suspended? Interpreted another way, we could also argue that the “now” is a compression of all of these moments, allowing our past and future to simultaneously inform and shape our present.
For Tsantekidou, a component of music within the installation becomes a method for the viewer to become more aware of this circumstance. For her, working with music has the effect of stopping time, and a way of becoming completely absorbed in the present. In this state there is no past or future, only the joy of the moment and the concentration on now. As the viewer interacts with the installation, they create something completely unique—no one will produce the same combination of sounds. Each individual will spend more or less time than another either looking or participating. This mirrors how each of us moves through time—not only differently but in a fluid state, experienced individually and at different speeds and rates, with a particular, unique rhythm. Consequently, the installation creates a dialog between person and object, developing a conversation through space color, sound, and time. Fundamentally, a goal for Tsantekidou is to create a moment of joy for the viewer, a memory of experience that may have been unexpected. Often, it is these unplanned moments that can have the greatest impact on us, where nothing is scripted or predetermined.
Each physical component of the installation is, of course, also important. The choice of materials, many being very usual in their origin or existing in nature are combined to form a whole that supports this emotional experience. In this way, the objects or materials become less of a focus or something to be considered and become more so a means to this personal experience.
This brings us back to the title of the installation, specifically the act of daydreaming. When we are in this state, we are considering many things—what is happening, what we want to happen, who we are, who we want to be, what makes us happy—a vast multitude of possibilities. In Soundscapes and Daydreaming, we have a moment to reflect on the now, and to contemplate many of these possibilities all at the same time.