2/3

The projection work 2/3 presents a dialogue of two blind Graeae, striving for vision (three ancient sisters, the Gorgonas, shared one eye and one tooth since their birth). The viewer becomes to a third participant of the conversation through reading the dialogue screened by the projection. It is also strongly suggested by the form of the installation. Necessarily, there is a reference to the form of antique dialogue, which is simple, modest, and even harsh in character. Their language is appropriately still and monothematic and could both treat of matters supposing an emotional collapse or of absolutely banal things. There is a confrontation with author's interest in language and word as a source of verbal communication. In 2/3, she works with a form of simple sentences of direct speech free from any residues of articulation or accent to one or another participant of the dialogue. Without differentiation or classification, no space remains for emotions. Finally, the viewer is confronted with silent ‘appeals’, free from everything, including sound – the most natural aspect of speech. The viewer closes the dialogue as a third part of it.

The projection work 2/3  presents a dialogue of two blind Graeae, striving for vision (three ancient sisters, the Gorgonas, shared one eye and one tooth since their birth). The viewer becomes to a third participant of the conversation through reading the dialogue screened by the projection. It is also strongly suggested by the form of the installation. Necessarily, there is a reference to the form of antique dialogue, which is simple, modest, and even harsh in character. Their language is appropriately still and monothematic and could both treat of matters supposing an emotional collapse or of absolutely banal things. There is a confrontation with author's interest in language and word as a source of verbal communication. In 2/3, she works with a form of simple sentences of direct speech free from any residues of articulation or accent to one or another participant of the dialogue. Without differentiation or classification, no space remains for emotions. Finally, the viewer is confronted with silent ‘appeals’, free from everything, including sound – the most natural aspect of speech. The viewer closes the dialogue as a third part of it.
 

The projection work 2/3 presents a dialogue of two blind Graeae, striving for vision (three ancient sisters, the Gorgonas, shared one eye and one tooth since their birth). The viewer becomes to a third participant of the conversation through reading the dialogue screened by the projection. It is also strongly suggested by the form of the installation. Necessarily, there is a reference to the form of antique dialogue, which is simple, modest, and even harsh in character. Their language is appropriately still and monothematic and could both treat of matters supposing an emotional collapse or of absolutely banal things. There is a confrontation with author's interest in language and word as a source of verbal communication. In 2/3, she works with a form of simple sentences of direct speech free from any residues of articulation or accent to one or another participant of the dialogue. Without differentiation or classification, no space remains for emotions. Finally, the viewer is confronted with silent ‘appeals’, free from everything, including sound – the most natural aspect of speech. The viewer closes the dialogue as a third part of it.

The projection work 2/3 presents a dialogue of two blind Graeae, striving for vision (three ancient sisters, the Gorgonas, shared one eye and one tooth since their birth). The viewer becomes to a third participant of the conversation through reading the dialogue screened by the projection. It is also strongly suggested by the form of the installation. Necessarily, there is a reference to the form of antique dialogue, which is simple, modest, and even harsh in character. Their language is appropriately still and monothematic and could both treat of matters supposing an emotional collapse or of absolutely banal things. There is a confrontation with author's interest in language and word as a source of verbal communication. In 2/3, she works with a form of simple sentences of direct speech free from any residues of articulation or accent to one or another participant of the dialogue. Without differentiation or classification, no space remains for emotions. Finally, the viewer is confronted with silent ‘appeals’, free from everything, including sound – the most natural aspect of speech. The viewer closes the dialogue as a third part of it.

The projection work 2/3 presents a dialogue of two blind Graeae, striving for vision (three ancient sisters, the Gorgonas, shared one eye and one tooth since their birth). The viewer becomes to a third participant of the conversation through reading the dialogue screened by the projection. It is also strongly suggested by the form of the installation. Necessarily, there is a reference to the form of antique dialogue, which is simple, modest, and even harsh in character. Their language is appropriately still and monothematic and could both treat of matters supposing an emotional collapse or of absolutely banal things. There is a confrontation with author's interest in language and word as a source of verbal communication. In 2/3, she works with a form of simple sentences of direct speech free from any residues of articulation or accent to one or another participant of the dialogue. Without differentiation or classification, no space remains for emotions. Finally, the viewer is confronted with silent ‘appeals’, free from everything, including sound – the most natural aspect of speech. The viewer closes the dialogue as a third part of it.