planned (virtual/conceptual) art project:
The Matrix of a thousand lives
dedicated to my father, the Swiss artist 'Schlössli' Franzueli Rechsteiner who passed away in February 2015
'An idea is eternal whereas the form is temporary'
Introduction
Welcome to "The Matrix of a Thousand Lives," a participatory installation dedicated to the memory of Franzueli Rechsteiner, who departed in January 2015.
In this interactive experience, "The Matrix of a Thousand Lives" places the public (users) at the epicenter of action and decision-making. Participants are invited to craft and modify an installation— the matrix—using an array of personal items that once belonged to Franzueli Rechsteiner. The foundational principles of the matrix's structure and operation draw inspiration from object-oriented programming languages like JavaScript.
Within the matrix, every element is subject to manipulation and rearrangement. Each alteration ripples through the entire matrix, influencing both the collective structure and the individual objects comprising it. Every user-initiated action (alteration) must be justified and meticulously documented in the object library/memory and on the matrix board. Random actions are perceived as errors, correctable by fellow users.
Over time, the matrix takes on a life of its own, organically evolving from chaos to order. Objects find their rightful places, contributing to the ongoing narrative.
This project stands as a research endeavor within By-product—a process-based research project emphasizing the intricate planning of artworks and art projects. Its output encompasses preparatory works such as notes, diagrams, photos, databases, models, video, and audio recordings. By-product, both a by-product in the truest sense and a self-contained body of work, sheds light on the creative and intellectual processes in art and life's complexities. It challenges our tendency to unquestioningly accept information and consume presented narratives. Beyond a mere exploration of art-making, it serves as a commentary on the blurred lines between finished products and their production, reflecting the challenges of extracting essential information for decision-making.
photograph from above, matrix area in the left corner of the barn
Objects
As I believe that there is an intimate relationship between objects and their owner, I have selected 272 of Rechsteiner personal objects to use as blocks for the installation. Each objects has several properties/values such as dimension, material, place of origin etc. . By placing objects in specific places within the installation/the matrix those values can change or/and influence values of other objects. It is also possible to use other bigger so-called framework objects that are being kept in a specific storage. More info in the instructions.
Instructions
A set of instructions are to be considered when participating in the setting up of the matrix. See below.
About Franzueli Rechsteiner and the process of making art
Besides being a page boy, office clerk, shepherd, an ice cream & hot chestnut seller, cheese maker etc. Franzueli Rechsteiner was also a thinker, a philosopher, a musician and an artist with a profound interested in the process of making art, be it in intellectual or emotional terms.
In video interviews and especially in the Montbeliard Diaries his interest in the process and joy of making art becomes obvious. This is also apparent when one considers the fact that after completion of a piece of work he would abandon it and start immediately something new. The constant interaction as the subject matter and essentially the protagonist of his work with specific themes plays an essential part of his work. The inability or/and laziness of the spectator to truely engage with the work and his own fear of his work not being accepted led eventually to a more secluded life and work style which resulted not only in complex background stories but also in inventive work procedures.
The Matrix of a thousand Lives challenges the spectator and asks her/him to engage him/herself with the work by participating in the construction and hence be part of the work. This is the area and space where one meets the artist, where one meets Franzueli Rechsteiner. The spectators are not only consumers but the users and makers, they are part of the work.
The installation is a conceptual reconstruction of the process of making art.
For more info re Franzueli Rechsteiner visit his website: www.franzuelirechsteiner.tk
The architecture of the installation
The entire installation is located in the first storey of the barn of Franzueli Rechsteiner's home in Lugnez, Switzerland. It consists of thee parts:
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the object library
The installation is being built using objects that are to be found within the object library. There are exactly 272 objects arranged in a raster of 16 x 17.
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the thinking area
The thinking area is where the users record their actions on the Matrix Information Board and the book of variables.
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the matrix area
The matrix area is the actual area where the users build the installation.
Find more specific information in the instructions.
Further notes
When analysing work it is essential to look at the process of how the work has come about in order to understand its complexity. There is a sheer endless number of factors that influence the development of work such as for example ones childhood and all its implications on adult life, the political, cultural and social landscape, education, state of health . Such and a lot of other factors have an impact on the decision making process that eventually gives content and form of to work. Schlössli was a very complex artist who combined intellect and emotion in his work. Everything has a story and a feeling. Everything plays a leading role in life.
