Public intervention/video performance - projection of text onto passers-by, documented using video.
The idea:
In TV programs a shot of a busy, pedestrianised street is typically used to present statistics - whether concerned with diabetes sufferers or the likelihood of dying in a car accident. Using similar aesthetics we would like to comment on the way the Polish people in the UK are portrayed in the media - often through numbers and statistics taken out of context. Through inviting members of the public to interact. I would like to explore issues concerning national identity, its social perception and mechanisms of labeling.
The text ‘Pole’/’I’m Polish’ will be projected onto people as they pass by. Some of the subjects will be aware that they are being singled out, some not. The identity they are given will most likely be false but those who are not aware of their labeling will not be given the opportunity to challenge or correct it, a common situation for many people. Those who are aware, on the other hand, will be invited to react to this labeling. Their spontaneous reactions will be an interesting comment on what they think about the idea of being Polish and, possibly, very indirectly, about Poles. Whether it’s amusing, uninteresting, offensive, uncomfortable or just funny, it will not be a comment on Polish-ness, as such, but the idea of being mistaken or taken for a Pole.
Location: a busy, pedestranised street in Birmingham city centre.
Time: late afternoon (depends on the projector available)
Equipment needed: approx. 4K-lumen projector and a video camera for documentation.
2. Polish Specimens
A display of approx. 5 motionless Polish people placed behind frosted glass.
The idea:
The idea behind the project is the concept of gaze, in the philosophical sense, but also with regards to early 19th century anthropology and The World Exhibitions that presented people of the ‘primitive cultures’ as exhibits placed in specially designed villages and pavilions.
Making it happen:
Through a museum-like display of Polish people standing behind frosted glass (not necessarily real Poles, it would even be more interesting to have ‘fake’ Poles on display) the artist is hoping to comment on the novelty of the presence of the large Polish community in the UK and the curiosity regarding the newcomers. The Poles will not only be watched though – they will watch the spectator to the point of uneasiness. The mutual observation will allow for limited contact though – with frosted glass symbolising a lack of transparency (glass is supposed to be transparent) in our view of the world and people around us. The frosted glass could also be interpreted as a symbol of linguistic and cultural barriers that make it difficult to have a clear idea about each other.
Location: an empty shop or gallery space.
Materials: Frosted glass or yoghurt coated glass or semi-transparent plastic curtain. Non-transparent wall/curtain to cover surfaces in between ‘display cases’.
Lighting.
Equipment needed: artist’s friends and acquaintances.
3. Other possible mini-projects:
- Flyers with invitation for members of public to enter a “Spot the Pole” mock-competition. Each person who emails photos of 15 Polish people taken with mobile phones to the organizers will be offered a bottle of Polish herbal vodka as a prize.
- Sale of T-shirts & badges with quotes about Poles taken from tabloid press. Outcome of the artist’s previous project done in collaboration with another Polish artist.
- Press articles about Poles in Britain printed out from internet and dispersed loosely on the floor for people to pick up and read or ignore.
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