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TARKKAILUASEMA

2007–2010, polykarbonaatti-ikkuna, tummennuskalvo, teräskehys ja vartijat

Kaupunkiympäristössä pyritään hallitsemaan ja kontrolloimaan ihmisjoukkoja. Julkisen tilan valvonnassa on kaksi vastakkaista käytäntöä. Ensinnäkin univormupukuinen vartija, jonka näkyvä partiointi rajatulla alueella tähtää laittomuuksien ja poikkeavan käyttäytymisen ennaltaehkäisyyn. Toisaalta tummien lasisuojien taakse piilotetut valvontakamerat ja tarkkailuikkunat, joiden tehtävänä on valvovan katseen piilottaminen ja huomaamattoman kontrolloinnin mahdollistaminen.

Teoksessa Tarkkailuasema olen yhdistänyt nämä kaksi vastakkaista käytäntöä niin, että valvontaa harjoittava vartija on paradoksaalisesti sekä anonyymi kontrollin tuottaja että itse tuon kontrollin alainen. Rationaalinen tarkkailu muuttuu irrationaaliseksi, vailla muuta tarkoitusta kuin puhdas tarkkailu. Samalla valvonta menettää itsestään selvän luonteensa – herää kysymys, kuka tarkkailee ketä ja miksi? Teoksen psykologinen ulottuvuus – tietty vaarantunne, uhkaavuus, epämiellyttävyys – liittyy katseeseen, joka pakenee jakamista. Katseen läsnäolo muuttuu mahdiksi, jonka pelottavuus johtuu sen vetäytymisestä.

Timo Heino

MONITORING POST

2007–2010, polycarbonate, vinyl, stainless steel frame and security guards

The urban environment manifests a tendency towards the mastery and control over crowds. In the monitoring of the public space one may notice two reverse practices. On the one hand, the uniformed security guard whose visible patrolling in the limited area is aimed at pre-empting lawless and deviant behavior. On the other hand, the surveillance cameras installed in the dark glass shelters and monitoring windows which strive for hiding the watchful eye and enable the unrecognized control.

In my workMonitoring Post I have connected these two reverse practices so that the security guard who is carrying on his/her surveillance procedure is, paradoxically, both the anonymous producer of control and a subject to it. The rational security monitoring becomes irrational, without any other meaning than the pure act of surveillance. At the same time, surveillance loses its self-evident character – one may ask who is monitoring whom and why? The psychological dimension of the work – a certain feeling of danger, imminence, uncongeniality – is related to the eye that retreats from sharing. The presence of gaze turns into a force whose uncanninessoriginates in its withdrawal.

Timo Heino