In his study of Norilsk, the author decided to read the architecture and landscape through the study of the city territory and computer games. The installation integrates real objects created by man, which under the influence of the environment have regained biological forms, and video art recorded during gameplay. By finding and slipping through gaps in the locations of computer games, the author found a way to go beyond the boundaries of the playing field determined by the developer and switch between its layers.
In the juxtaposition of the game’s infrastructure and the texture of the city, the virtual and the real begin to be reflected in each other.
The title of the project “Vocalization” refers to the term “ritornello”, explored by Gilles Deleuze and Felix Guatari in his book “A Thousand Plateaus”. The philosopher’s text reveals the connection between music and rhythm and how the melody each time returns to a familiar motif in order to slip away again into new territories, and the singing of birds, which with their melody indicate the territory, including extraneous sounds that the bird copies from the environment. Bird song in a certain territory is an assembly of this territory, where the bird’s song includes its basic vocalizations plus those acquired from being in a certain place. This is how the territorial ritornello works, in which the assembly of the bird’s voice takes place on the body of the bird. The sound part of the installation is complemented by the author’s research on the ground, creating a new territoriality.
Street lamps are used to illuminate the installation space. Moving street lighting indoors creates an intersection with the places where the objects for installation were found on the street. Inside the museum we can see how things, light, sound and video move according to the “ritornello” principle and continue to interact with each other.
The entire installation was a kind of guidebook – a map of Norilsk with marked places where objects for the exhibition were found.