The room was filled with specific scent of moisture, red wine and cigaretts. Everyday objects, worthless in terms of their usefulness, bear the burden of history. In the process of tearing down wallpapers and examining quite a few defective video players, cathode-ray televisions and useless tools, I find myself simultaneously close and dissociated. The apartment’s legacy brings out a foreign history; identity. The space, in which the earliest memories of my own childhood are hidden, has outgrown me and pushed me aside almost two decades ago. The alienation of intimate environment disorients me. During the exploration and accumulation of objects, I am remapping the apartment, I search for traces of myself and reconstruct this space through memories. I occupy and re-own what is on the edge of my history; always there but never seen or experienced.
Daddyland is a research in relationships toward intimate space, it’s emotional saturation and personal history. Installation becomes an act of building; or better, rebuilding my own past through mapping the intimate space of my deceased father. It is reappropriating a missing piece of my childhood, reconstructing relation to my parent through objects and his personal space. Objects become artifacts as installation, built to anonymous; my estranged father, is ironic memorial.
Installation consists solely from objects retrieved from my father’s apartment combined with two videos; one of which is an reenactment of my only memory tied to the mentioned space.
Presented in Gallery Alkatraz, Ljubljana (Slovenia)