When we trace the line between self-exposition in fervently socialized media web of internet and stalking, detecting, filming cases, whom do we endue with a title of a
guilty? Whose stalking is better or worse? The one online, deeply interested and non-commercial, the one for ´the public good´ everywhere or the one personally uninvolved, professional and paid?
Are we not all stalkers to some extent? Could our stalking behaviour be supported by our extensive access to the personal data? Is the online persona more in danger to be monitored than the real person? Is it possible to draw a clear line between subjectivities online and in daily life? And at the same time, is it possible to distinguish in both of them between private and public? What do we experience when our privacy is subjected for monitoring?
The project “I was stalked” ´ is a retrospective display of the event, which had occured to me during the first months of my stay in Austria. The performance where I daily took part without a slightest idea of being a participant stumbles on an incongruity of a point who is the one who performs? 5 months in a row, day by day, me, my flatmate and ex-flatmate were filmed with a сandid camera installed in front of our appartment door. Objects A, B and C are identifying names conferred to us by a private detective as an alternative to differentiate requisite individuals. Why? I happened to be a subject matter, an object A, in a particular time and place for the purpose of a power play concerning property rights. The documentation on the paper is a collection,I received after 5 months of our objectified lives with daily tracking of our arrivals and departures to and from home.
Addressing the provocation and subjectification of the stalking act, I focus on the principles how authoritarian speculation and manipulation lead to artistic practices. Monitoring required body, detective does not manifest the interest to the individual itself, rather fulfills the mechanic function – follows the instruction and treats the person as an object. Once the documentation is exhibited, the stalker, automatically and unwittingly, becomes the object of an art manifestation. Consequently some questions arise; is it important whom do you stalk? What is the influence of interplay with societal tricks? In what manner should the emancipatory attempt to juxtapose organized tactics of monitoring with the artistic research be inquired?