In the entrance hall of the show there is a security check. You need to put shoes, phone, keys and bags in a red plastic tray that goes through the scanner. You then need to proceed through a metal detector gate. When there is a beep you are searched for weapons or explosives. Your hands are checked for powder traces.
When found safe, you can follow your red tray with belongings, that continues on a conveyor. However, you can’t touch it yet. There is a net that seperates you from the tray and you need to follow it.
The tray moves further and you enter a big hall. The conveyor leads the tray into an installation that looks exactly like a modular indoor playground. However, it is completely black. Black nets, black plastic balls, shiny black slides…
You have no other option than to follow your tray, that has its own separate and parallel trail. Up and down on your socks through the black playground. After some childish challenges, you finally enter a big bath of black balls and need to wade through. Above your head, your tray proceeds slowly.
It is then automatically reversed in a big container. Later you pass above the container and see a gigantic heap with phones, bags and shoes.
You leave the playground and a security man awaits you with plastic gloves. He hands you back your tray and informs whether you had fun.
You are invited to place your feet on the marks on the ground. You are pushed out of the installation and the doors slams behind you.
On the way out, you pass a control room where you can follow the adventures of other people. You receive an action photograph of yourself and are asked, for security’s sake, not to inform other people about the installation.
We have been traumatized by terrorist attacks. Every time the violence is mediatized and unescapable.
There is an escalation of safety measures in every realm of public life.
Against the cult of death and sacrifice for god that is spread by the terrorist, we install the cult of life. Life as an absolute value that needs to be protected at all cost.
The indoor playground, a phenomenon that is on the rise since the beginning of the century, is an emblem of our desire for safety. Children can safely play here because all risks are covered. And a cacophony of colours and shapes imitates the intensity of childhood.
This installation creates the adult version of the indoor playground. At the same time, it takes away the safety anchors of the visitor: shoes, phone, keys. Those object proceed through the installation as fetish and the visitor helplessly needs to follow them.
The intention is a ritual resetting of our sense of security.