Text-Witness Project | delphinericher

Art is always a witness of a certain time scale, which reflects the characteristics of a certain period of history. Hence, the artist is also witness himself. In this artwork, Delphine Richer wants to do it literally, by watching and reporting what happen in front of her during 24 hours.

By doing it, Delphine also inverse the common rule of the artist and the public : the artist adopts the position of viewer and incites the public to do actions.

The device invites passers-by to play their own role, to be aware of their own acts. Because the habits determine the most part of our behaviour, this artwork is about getting liberty by being in control of one’s own actions.

Label on the window (#1):

"THE WITNESS PROJECT

I am a witness in this place for a period of 24 hours, from August 31, 2014 at 10:45 AM to September 1, 2014, 10:45 AM.

I am writing as faithfully as possible what is happening in my field of vision.

My field of vision is indicated on the ground by the chalk line.

You are currently part of the artwork. Your presence is reported in my writing. You can decide to leave or to continue to act in the device.

In 10 days, I will rewrite my memories, what I remember of this experience and consider the traces left in my mind.

关于目击者项目

首先，艺术总是某个时间尺度的见证，这反映出一定时期的历史特点。因此，艺术家也见证了自己。在这件作品中，我想逐字的，通过观察报告24小时内发生在我面前的事件。

通过这样做，我也反转了艺术家与公众的通常规则：艺术家站在了观察者的位置，而公众被煽动起来做表演。

它也是一种监视的参照：监视视频和监视人。

这个作品的第二层是关于记忆。

在法庭上，证人所提供的证词往往取决于他的记忆。我想研究的是，真实的信息，其实是如何首先通过我们的认知，然后还经历了自然而然不可避免的被遗忘，才被记录在案的。

这是我的个人经验和集体记忆的问题。例如，因为我这一代的祖父母曾经历过战争，这段历史被祖父母们口耳相传给我们，所以这段历史对我们来说是具体的，可以理解的，和我们距离很近。但对于那些年轻父母的下一代，这段历史似乎已经是更抽象的悲剧。他们对战争可能再次发生的的恐惧不会比我们这一代人强。这一点可以看看极端右翼政党获得的票数来证实。这也是为什么我在疑惑记忆的影响作用（个人记忆与集体记忆）。

基本上，这个作品是在公共空间搭建出一个非常简单的布景（只需使用画粉笔标示出一个舞台）。此作品邀请来往行人自我发挥，有意识的行动。因为习惯是决定我们的行为最重要的部分，这个作品通过打破旧有习惯，对自己的动作控制，或作出各种可以想像出的行为动作，来体会自由（对这件作品和共同的生活而言都是）。