Ameriški dramski pisec John
Guare je napisal dramo Šest stopenj razdvojenosti, ki je osnovana na tezi, da se med vsakima dvema osebama na svetu lahko dogodi povezanost z največ šestimi drugimi osebami po sistemu: jaz poznam tebe, ti poznaš njo, ona pozna njega. Medtem ko je glavni lik te drame, mladi prevarant iz Bronxa, izkoristil to idejo za prodor v brezdelno
visoko društvo v New Yorku, se je v trenutku nastopa Ivane Franko to pomlad v PS1 V New Yorku zgodil ravno takšen niz zvez, ki pogojujejo razumevanje njenega dela in osvetljujejo povezanost dveh kulturnih krogov.
Instalacija Ivane Franke v eni od učilnic bivše osnovne šole PS1 v newyorškem Queensu izpolnjuje celoten razpoložljiv prostor s pravzaprav nevidnim materialom, razpetim ribiškim laksom, na katerem so razobešene številne
tri-osne strukture iz lepilnega
traku, množica izhodišč kartezijanskih osi, ki kot da začenjajo prostor, ampak ga nikoli ne definirajo do konca. Obiskovalec je povabljen, da vstopi v sobo, vendar ga sama krhkost in
nevidnost konstrukcije pripelje do vprašanja sposobnosti kontrole nad prostorom, ki si ga sicer redko zastavljamo
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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.
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