projects

 to lift a police line, 2010, confronts a subject with the (im)possibility of choosing a side where a “POLICE LINE” stands.  By photographing both sides of a “POLICE LINE” (barricade), to lift a police line (dis)places the ”POLICE LINE.”  Whereas a state uses a “POLICE LINE” to make some subjects immobile while granting others (class) mobility, to lift a police line maps the mobility of a subject always already between the police lines.  When crossing a police “line” happens by also reading the text (“POLICE LINE”), since to read a text is to also read it in its absence (in the absence of a trace, a line or a thread between writing), the subject becomes one on the threshold between the “POLICE LINE.”  This reading between the “POLICE LINE” deconstructs the barricade.

In to lift a police line, photographs from both sides of (a) barricade(s) are placed in rows and columns with images of either side of a barricade appearing next to the other side.  The multiple readings of a “POLICE LINE” from both sides reveals the (in)determinacy with which images of a “POLICE LINE” disseminate.  Perhaps it is not a coincidence that “to lift” also refers to theft.