Pilvi Takala sometimes describes her art practice as “intervention,” but one might simply say that she does things she’s not supposed to do in places where she’s not supposed to be.
Duly furnished with a flute of prosecco, he raised it and proclaimed, “And now I have officially declared ‘Close Watch’ open!”
Calling herself Johanna again , she told her mall co-workers that she had gone to art school and worked as a guard in an art museum, a common part-time job for students and artists. “I made it as minimal as possible,” she recalled. “And I didn’t talk to them much about my personal life—I can’t talk to them about living in Berlin. I was, like, ‘I wish I had a dog!’ ” On a break with colleagues one day, Takala feared that her beverage order might be a tell.
I want to ask why race is important here, but not age, as play-fighting is quite standard behaviour for youngsters. I hesitate because I’m not sure I can deal with what his answer might be. I’m not sure I would know how to respond. Takala had been struck by how theoretical best practices yielded to peer pressure on the ground. “I was interested in the internal policing that happens in the workplace,” she said. “I wanted to know, could that second colleague somehow change the course of events?” She decided to ask ex-colleagues if she could interview them about their decision-making processes during incidents she had witnessed, particularly those which related to “excessive use of force, racist humor, and toxic masculinity.
“We have young people, we have old people, so nothing was too weird,” he said. “The only weird thing was maybe her enthusiasm about certain subjects.”“She told me she was interested in human psychology—that sounded maybe a bit too deep for a security guard, or something?” “After that, the plan changed!” Takala called from the other end of the table. “You guys were so good!”
In her twenties, Takala married Ahmet Öğüt, a Kurdish conceptual artist. I can’t say much more about Takala’s personal life. “I have a long-term stalker,” she explained, the first time we talked, asking that I leave her family out of my story. She was concerned for their safety, so I agreed. Faced with this kind of abuse, many people would cower. Takala, however, felt that the e-mails presented an opportunity to delve into, as she later wrote, “a certain kind of gendered, online behaviour, one in which the risk of reprisal is minimal.” She decided to make art about it.
After Venice, “Close Watch” travelled to the Espoo Museum, which is situated in a former printing house in an industrial neighborhood outside Helsinki. On opening night, in mid-January, a considerable crowd turned out for a discussion with Takala, followed by a reception. Executives from Securitas had been invited, but, up until the last minute, Takala wasn’t sure whether they’d come. In the end, they showed.
Then, in early January, at the mall where Takala worked, a woman died after Securitas guards removed her from a store. Witnesses said that the woman was not behaving aggressively, and that she was “pressed to the ground and handcuffed” by four guards, one of whom reportedly “lay on top” of her. Finnish police are investigating the incident as suspected negligent manslaughter.
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