Welcome to the world of As If, a room where alone together and together alone we construct and simultaneously live fictions. There are infinite ways to build and ever infinite results of building a practice and the space that supports it.

This is not about public space. This is public time. Free from commodification and an economy of scarcity we inhabit public time as if it captured a new order, any new order, yours, hers, his, ours and mine.

What can we do, what will we do?

For the duration of two weeks 4 artists – Chrisander Brun, Halla Ólafsdóttir, Zoë Poluch and Jens Strandberg – will co-exist during working hours in the foyer of MDT, Stockholm working alone but in parallel on an experiment that responds, resists, refutes, challenges, dismisses, confirms a series of statements provided by Zoë.

There are three rules:

We do not converse about what we do, we do not leave the space and we do not use computers.

Does art-making, world-making, and specifically our do-ings, glorify being in transit, always on a way to the next, to becoming another? Does this kill our fantasies and indignations to care about construing a work, a practice, a situation, a world with a different order? We will give life to a locality, while questioning and de-emphasizing the temporary nature of it. Well aware that there are infinite ways to build and ever infinite results of building we will commit to the as if model which is the basic logic of fiction. Our do-ings: our playing, working, making, performing, eating, thinking, being, dancing, reading, nothing, are enacted as if they incarnated a permanently other order.

Our public time is one of discrete attentions, of simultaneous but solitary engage-ings. It is a time of common yet heterogeneous purpose. There is no transcendence. We are here, particularly and specifically and this is where we situate and produce knowledge.

Do we see the aesthetics of decision making, specific to each artist or the production of a fifth entity that belongs to no one? Is this work? Is this the beginning of the future of ‘a work’, her, his, ours or my work? Is this individualist communality? Is this performance? Is this private? What is public? Can the power of naming, re-naming and un-naming what we do be used as a tool to un-do what we know or where we situate this knowledge? Do you have any questions? Feel warmly welcomed to come and ask them or produce their answers from November 28 to December 10, 2011 at MDT.

20 Statements

1. Art should be fun.

2. This room is witness to heterogeneous perceptions of time and duration.

3. This is private and I am alone.

4. I can always change, kill or proliferate what I am doing at all times.

5. I do not collaborate or compromise. Without having to isolate and withdraw from the room I find a way to research my individual interests.

6. My freedom is finite and I am not always sure who and what determines this.

7. The group and the space are closed.

8. I create meaning and vitality when I self-valorize using self-determined criteria.

9. My do-ings empower myself and others.

10. This is not a performance.

11. I am an author.

12. This is public.

13. I and the room expect nothing.

14. We are together.

15. I make new rules that condition my being in every new situation.

16. This is (not) my future.

17. Striving for the new is the most boring habit of art-making.

18. My do-ings are specific to this room.

19. The audience is here.

20. We cannot simply provide alternatives, different versions of the same, but instead “we need to change the way to change.” *

*Bastardized quote from Bruno Latour