Insecurity Zone was made July 19, 2009 by Nikolaj Recke. It is a few minutes walk that the Danish artist has performed at the site of Spiral Jetty, blindfolded and driven by Jacob Lillemose, cameraman and curator of the event. A moving tribute to Robert Smithson when one considers the recording of his voice in his own movie Spiral Jetty (1970) and the mad running that leads him to the center of the work, echoing now with Lillemose’s repetitive instructions and Recke’s stumblings. A tribute all the more powerful it is amplified by a direct quotation of Vito Acconci – Contemporary of Smithson – using a title that refers, apart from the "in", to Security Zone (1971), an important piece of Acconci which marks its transition from the sensing space to the living space, from poetry to street actions, from the studio to public space. Thus, this 1500 feet running lets us, double-struck on Smithson and Acconci as we are, live through the history of art as Nikolaj Recke foresee it: from the prenatal time evoked by plunging us into the fanciful darkness, through the incontrovertible stages of experimentation, research and doubt relative to the artistic quest, he make us finally transcend this history – he sees as "a dialectic between mental space and physical space" – to reach a new perception in the light of the site. Marc de Verneuil, November 20, 2010 (original text in French)

"Pitch" given by the artist :

Insecurity Zone (Spiral Jetty), 2009
During the summer of 2009, Nikolaj Recke visited Robert Smithson’s Spiral Jetty (1970). Blindfolded and following instructions, he walked out onto the rocky spiral-shaped causeway. The video paraphrases a well-known scene in which Smithson runs to the center of his sculpture immediately after its completion. Another iconic piece from the period, Vito Acconci’s Security Zone (1971), echoes Smithson’s. The blindfolded, handcuffed artist was led by a stranger around New York City’s Pier area. Insecurity Zone can be viewed as a personal tribute to both pieces, but also as an unpretentious comment on contemporary art’s endless attempts to lay hold of art history. It depicts art history as both a mental and physical space in which one hardly gets a foothold while moving in spirals, uncertain of being guided or just blind. (Nikolaj Recke)

Special thanks to:
Nikolaj Recke for his film donation to the archives of OBSART, Serge Paul for his revision of artist’s "pitch" and Mélanie Marbach for his insightful rereading)

For further details, please go to this link:

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