ressentiment: ikisyon 15

ressentiment (who wish to remain anonymous) make installations, interventions and performances that involve a dislocation of existing meaning and values in order to take the viewer by surprise. A consistent feature of their work is the multiple use of image devices and visual technology, which incorporates, for example, film and military technology to ensure an assault on the viewers senses.

In ikisyon 7 (2003), a pastoral landscape with sheep in a meadow is photographed with a motion-tracking camera, resulting in a violent display of images that slide automatically in line with the movements of the sheep; this is the record of a camera process controlled by sensors - an eye that constantly tracks the target, while moving unsteadily. The viewer is allowed no more than a circumscribed gaze, in other words this is a world from which the viewer has been excluded.

In ikisyon 10 (2004), the work consists of a set of goods available in Japan at a '100-yen shop', presented to resemble episodes from Japanese mythology. At FACT their latest installation ikisyon 15, consists of objects collected from local people, again, with a unique narrative prepared by the artists. Whatever the narrative may be, there can be no doubt that the structure of a work that involves the gaze of another person (or camera) exists as a metaphor for a monitored society.


These artists have not been selected on this occasion on the basis of any unified theme, but features common to all the artists include the manner in which they distance themselves from existing frameworks, create their own systems or media and investigate our relationship between the real and virtual world, making new connections and relationships in both, and reflecting human desires and longings.