Politically seduced, contractually violated, and solicitously abandoned to a destiny of financial misery by a selfish lover, the narrative of the artworks presents an apparent future that is made of tears and a painfully eked out living. This is juxtaposed to the emotionally charged painted curses which also speak of response, action, and reaction, and invite viewers to rethink and take advantage of the multiple possibilities offered by the now severed responsibilities of the wrecked home.
The title of the installation, Knock, Knock, Knocking, speaks directly to the lover and the nation-state. “I wanted people to remember the name of a selfish lover and for them to identify that name with the nation-state as a means to make the installation relevant to personal instances and narratives of defeat and rebirth. As an artist, I wanted for this breakup to have a clear emotional comparison — an actual physical embodiment in the dirty bed sheets which air in public the traces of the physical body. We have all separated with a lover and experienced the feeling of rejection and hurt. This is the feeling that people are currently experiencing in the Mediterranean due to the betrayal and complete disregard for the very basic notions of the social contract by the nation-state.”
For Aceti, society has stopped existing a long time ago. The Mediterranean Garden pavilion, with its architectonical cabinet of curiosities, offers the possibility of the impossible — the simplest of ideas, that another life may be possible without this nation-state or “moron of a lover.”
As we are so often taught to not ‘air our dirty laundry,’ the installation antithetically brings into the public space — via curses and bodily fluids — expressions of anger and hatred towards a situation that it is commonly expected to be dealt with only privately. The artworks embody personal feelings and speak directly to the sentiments of betrayal, abuse, and violation. The artist stresses the importance of embodiment in order to ensure that anger can lead to severance and rebirth through the redefinition of one’s identity both personally and politically.
“I wish for this anger to be directed towards a person in order to ensure that they — the selfish politicians of this nation-state — will not come back knocking at my door with ideas of social responsibility, service, and community participation. If these concepts have no value in a free market society, then there is no reason for me to engage any longer. As post-citizens within post-democracies, we no longer have any responsibility toward a nation-state that has moved beyond the idea of social contract. If we live in post-nation-states, requests for my social responsibility, service, and community participation have to be acquired through payments in hard cash, since we are made to pay for a miserable existence in these so-called advanced-capitalistic societies. The message of the artwork to the ex-lover and the ex-state is that we are moving on and please don’t come back knocking!”