The third and latest episode of the series represents a stylistic shift. While sound features again (and the sonic remains at the core of the practice), regiment envisions a site-specific work that pushes their practice to an apparent paradox.

To date, Static Unrest (III) is at once the series’ most bodily and most ephemeral instalment. Unannounced and with minimal script this performance/action is a new attempt at ‘preparing a space for some things to happen’. Equally unsettling and ironic, Static Unrest (III) on the one hand addresses the materiality of time, the space of the gallery, the event as a medium, the very presence of the audience’s bodies; it eventually stretches these materials to the limit, quite literally pushing the car against the glass window of the gallery.

If this larger project continues to ‘stay with the trouble’ by exploring the seemingly endless possibilities of the oxymoron of the title, episode III also openly engages with the politics of the site and sight while reckoning with the specificity of what can take place in or outside a gallery space.

Site-specificity 'emphasises a transitive definition of site, forcing a self-conscious perception in which the viewer confronts her own effort 'to locate, to place' the work and so her own acting out of the gallery's function as the place for viewing'. (Douglas Crimp, On The Museum's Ruins, 1993)

Who and what is in a static state and who is in a state of unrest?

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Photo Credits: Heyse Ip, Jeremy Chen, JungEun Yang