From 2007 to 2011, receipts, cinema tickets, phone credit vouchers, cash withdrawal slips, etc. are kept by the artist. The time of transaction is highlighted in fluorescent yellow on each one of them. The installation presents this collection on an orthonormal table drawn on foam boards attached to a wall. There are 24 lines from top to bottom: they represent the hours of the day, and 60 columns from left to right which represent the minutes of each hour. In the 1440 squares thus created, the receipts are placed according to the exact time of purchases.
During 4 years of collecting, some of the purchases were made at the exact same time: the receipts for those purchases are collected, stacked and pinned in the corresponding square. The hours spent without any purchases are left empty. The total amount spent at a certain time of day is inscribed at the end of each line.
Consumed-Smoothed offers itself to the viewer as an enlarged accounting worksheet. The materials (post-its, pins, fluorescent yellow highlighter) refer to the aesthetics of an office: the presentation itself evokes an Excel table. The installation functions according to a double principle: at first sight, it spreads out and makes visible things that are usually scrambled, blurred and faint in one’s memory.
However, through the superimposition of several receipts in a single square, the installation also juxtaposes and also telescopes events from the artist's life events from the artist's life which are scattered in time and space, according to the criterion of the time stated on the receipt. It feigns to impose an objective, (ortho)normal and digital frame to moments of life - but the realness and humanity of the events are shows through as soon as the viewer steps closer to the receipts and deciphers their content.
Hugo Kriegel thinks of this art work as a complement to Clock 1440. The artist indeed realized that even when his camera was turned off, his doings and actions continued to be recorded and documented through tickets and receipts. These pieces of paper prove his presence in a specific location at a ‘t’ moment: his position, movements and activities of consumption are constantly recorded without him even knowing about it.
The 24 hours of a day are laid flat in space. This orthonormal space offers a frame in which the events are inscribed and arranged: the ticket corresponding to a ‘minute’ concretely occupies a physical space on the wall.
In Consumed-Smoothed, the usual chronology of events finds itself disrupted since Kriegel imposes a new organazing principle: that of the 1440 minutes of the day. He blows up a certain order and proposes a new one.
In front of this spacial representation of time, the viewer’s gaze circulates from line to line, column to column, minute to hour. You just have to lift a ticket to discover previous ones showing the same minute with a gap of several years.
This work is interesting to me because it converts time into a series of actions.
Each action charges time, charges this table, and is itself charged by the sum. This is unloaded at the level of the total sums. What you are showing us is charges...
This information can be folded up as if it were a folding ruler; and the sum total at the end of the line contains all of these temporalities.
Each receipt carries the times during which the actions took place, and these actions give this time a rythm, a measure, but a measure that is no simple scansion, no mere repetition: it has the complexity of a charge: libidinal, monetary, temporal, imagined and historical.
In Consumed-Smoothed, Hugo Kriegel presents his personal collection of receipts pinned to the wall, grouped together in an orthonormal space of 24 hours according to the time of purchase printed on the receipts.
This could be the autobiography of someone with a compulsive disorder, but can easily be seen as an acerbic portrait of contemporary consumer society.
The traces of these repeated purchases cancel one another out by the simple fact of their accumulation. The information that has been cancelled out is revealed thanks to the wall matrix on the wall.