Američki dramski pisac John
Guare napisao je dramu “Šest stupnjeva razdvojenosti” koja se temelji na tezi da se između svake dvije osobe na svijetu može ustanoviti povezanost preko najviše šest drugih osoba po sistemu: ja znam tebe, ti znaš nju, ona zna njega itd. I dok je glavni lik te drame, mladi varalica iz Bronxa, iskoristio tu ideju za prodor u dokono visoko društvo New Yorka,
u trenutku nastupa Ivane Franke ovoga proljeća u PS1 u New
Yorku dogodio se upravo jedan takav niz veza koji uvjetuje razumijevanje njenog rada i osvjetljava povezanost dva kulturna kruga.
Instalacija Ivana Franke u jednoj od prostorija bivše osnovne škole PS1 u newyorškom Queensu ispunjava cijeli raspoloživi prostor gotovo nevidljivim materijalom, razapetim ribarskim najlonom na koji su ovješene brojne troosne strukture
od selotejpa, mnoštvo ishodišta kartezijanskih osi koje kao da započinju prostor, ali ga nikada ne definiraju do kraja. Posjetitelj je pozvan da uđe u prostoriju, međutim, krhost i nevidljivost konstrukcije dovodi u pitanje sposobnost kontrole nad
prostorom, koju inače rijetko smatramo upitnom.
(...)

The premise of the play “Six Degrees of Separation”2 by American playwright John
Guare is based on a thesis that there is a chain of connections between every two persons on Earth through a maximum of
six other persons, as in “I know you, you know her, she knows so and so”, and so forth. While the main protagonist of the play, a young drifter from the Bronx, used this principle to penetrate the arty high society of New York, another such chain of connections occurred in conjunction with the installation of artwork by Ivana Franke this spring in PS1 in New York, and has brought about a particular reading of her work and connections between the two cultures.
Ivana Franke has filled almost
an entire room at the PS1 with barely visible structures of stretched fishing line and
Scotch tape, suspended to form structures with three x,y,z axes, the multiple origins of Cartesian lines that start forming space
but never define it completely.
A visitor is invited to enter the room, but the fragility and invisibility of the structure questions the mere ability to control space that we easily take for granted.
(...)