E y e a m a T r a n s l a t o r / W a r A l l t h e T i m e
In July of 1995, i.e. created a bunker-like stronghold in the underground space of Manhattan's Pyramid Club with the constructed situation Eye am a Translator. Persons entering the space were issued i.e. ID cards with Polaroid photos and manually typed in names that were signed by the bearer and laminated. In a tank-like metal box viewers maneuver a computer program mixing video stills from footage taken in Sarajevo in 1993 by Paris based photographer Jean-Christian Bourcart with photographs from abandoned Manhattan real estate in 1995. The video stills were projected onto a screen made of digital video cards painted white. A US Army-issue megaphone accessible to all was hung from the ceiling. A rotating mirror devise refracted slide projections of a typographic version of the soundtrack, while a surveillance camera was focused on its monitor amidst a pile of obsolete computer and television screens. On another wall, slides of New York's abandoned architecture were projected on a suspended bank of telephones connected to nowhere. In the centre of the room, a pile of stuffed moneybags served as pillows. A project about the bunker mentality of private property in a violent decade. Renamed War All the Time, the interactive program was revised and projected at Void in Soho and as a stand-alone interactive kiosk at Centre de Cultura Contemporánia in Barcelona.
m o [ n u ] m e n t I . 2