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Staged across the previously inaccessible basement chambers of Hobart’s historic Ingle Hall and the gallery directly above, Limbo in Realtime (Tablet A Tablet B) invited viewers to move freely between two worlds.
An overlooked history of the site (recorded in workmen’s incised graffiti) was uncovered by the artist and made accessible for the first time. As viewers entered the basements they simultaneously appeared on screen in the gallery above, where cast copies of the graffiti below were presented as 'original' objects.
Continuing the recurrent themes of doubleness and betweenness in Hazewinkel's practice Limbo In Realtime (Tablet A Tablet B) offered viewers (or perhaps better described here - participants) a series of symbolic, spatial and experiential oscillations. Here the artist encouraged physical and conceptual movements concerned less with fixed oppositional states of binarisms, and more with the perceptually generative conditions created by rhythmic traversals of the distance between linked states, limits or boundaries.
In Limbo In Realtime (Tablet A Tablet B) subject became object and then subject again, the inaccessible was made accessible, above and below became confused, the dead were made somehow alive as incised documents of an overlooked past became digital documents of the immediate present.
Pragmatically connecting the two spaces in realtime, the presence of a security camera in the basement of this site-specific installation delivered a sense of unease. It seeped from the knowledge that one’s behaviour was being watched and potentially assessed as appropriate - or not.
If the ever-watchful digital eye had been present in 1891 it is likely that the hidden tradition established by X.D.M would never have begun.