Marc Mer Christian Hasucha Urban Space Graz Whatever occurs where is there. Such a pleasing reduction to a mere rendezvous, however, says nothing about the underlying act of arrival that imbues the location itself with a certain ambiguity. Besides the places where something occurs, there are also those from which something is initiated. In this respect, the latter, as places of observing projection, differ from the former, as places of observed objectification. But what an abstract consideration allows to be neatly separated and subsequently kept apart, merges again in a concrete location. A location is never solely of the first or solely of the second kind; it always exhibits aspects of both, albeit in varying proportions. The installations Christian Hasucha created in the urban space of Graz were more akin to the second type. These platforms were designed to compel those who stepped onto them to observe a projection, allowing them to perceive the shifts in their surroundings - shifts that, of course, had to be initiated by the individual. And because everything about their very appearance was so focused on what could be adjusted, recreated, and focused through them, yet outside of them, they themselves, as independent settings, were entirely lost within the possibilities they themselves offered. Yet this optical restraint corresponded to their purpose: to provide themselves merely as a means to bring about the intended installation, which, as soon became clear, was to be performed as a personal act. Everyone who stepped onto such a platform did so from their own unique perspective, according to what they were looking for. , ... However, since each perpetrator committed the same act against and within themselves, it had to remain invisible to everyone else, making it impossible to portray each one in its own unique way. And even if, as here, photographs of the immediate location of a platform are supplemented by those showing what it was oriented towards in its wider surroundings, these still cannot possibly represent the subjective perspectives that a person - both real and imagined - might have had while standing on it and looking in the same direction, especially since what appeared to them as such had to depend decisively on what was happening around them during the very time they spent on that platform. How, then, could a photograph taken by someone else from that same platform at a different time ever correspond to that? Private installations like these are difficult to conceal from the minds of their creators, even those who would be quite willing to sell them. However, for the reader and viewer who nevertheless wishes to attempt their own understanding, the photographs offered here, despite their documentary shortcomings (of which they should be aware), are intended to provide a modest starting point. For later minds, but certainly not machines, can sometimes succeed in reconstructing almost exactly what earlier ones - in the same place, but under different circumstances - conceived and envisioned. Anyone who, like Christian Hasucha, questions the construction of local reality is aware of the fundamentally subjective nature of all reality. He took this into account in all the preparations he had to make to realize his intervention - and, after the basic concept of his intervention had been developed, formulated, and addressed, he retreated to the position of a craftsman who produced the individual platforms to order and installed them at the locations specified by the clients. He deliberately chose the period for which they were to remain so that they could not be present at the same time as the other installations. Anyone who thought they had grasped something from one installation would not have the opportunity to transfer that understanding to the others. An initial letter, distributed to visitors at the opening of the exhibition at the House of Architecture and additionally sent by the Graz Cultural Office to a pre-selected group of potential clients, defined the target clientele. The letter contained a short cover letter, a technical drawing, a paper scale, and a reply card. The cover letter briefly explained the project and the ordering procedure. The technical drawing not only showed the platform's construction and installation, but also included a few handwritten lines suggesting to the potential customer that it could be used for meditative purposes. The paper ruler served to measure the circumference of the lamppost chosen for the platform's installation. The reply cards, containing the necessary data, were collected by the cultural affairs office and returned to Christian Hasucha. He prefabricated the platforms in his Cologne studio, transported them to Graz, and installed them. Thus, the platforms only appeared at their designated locations in the city after a considerable lead time, and without the customers having been informed of the exact installation date beforehand. This forced them to keep an eye out for the platforms in their expected locations until then. Even as the platform entered its actual phase of intensive use, a sense of what it would be like if it were to degenerate into mere vehicles for habitual perspectives was already present. And so it soon happened that one or another of their users found themselves, speculating on the possibility of their platform's unlimited availability, imagining the sweet pleasure of seeing the same image repeated day after day. To prevent such prolonged use, in which their translocating efficiency would be increasingly consumed by leveling repetition, the platforms were removed from their locations as abruptly as they had been deployed. Cf. Project documentation No. 16: P