In the work entitled In the Pines, Prashasti Wilujeng Putri responds to the sub-theme “Land” by examining the issue of space and how we perceive it. She also re-examines the relationship between the elements that make up the quality of space, namely: “subject” and “object”, “organic” and “mechanical”, “reality” and “representation”, “wholeness” and “partiality”, ” determinacy” and “indeterminacy”, “visibility” and “invisibility”, “natural” and “non-natural”. By exploring the relationships of each of these dualities, Prashasti uses “rotting” as a perspective to translate the conditions of space by unravelling its conventional properties and combining them into different possibilities.

This method manifests “rotting” as a term related to the temporality of events and the spatiality of land rather than merely material physicality. Specifically using human bodies (performers), recording devices (video cameras), and reflective objects (mirrors), Prashasti constructs In the Pines as a philosophical demonstration of the performativity of an event that occupies space. How does space and the subjects-objects that occupy it work with each other in time, especially in the back and forth between “progressing” and “retrogressing”? What if these relationships undergo a process of deformation, manipulation, disruption, or even a rotting process? In the Pines is a layering of utterances about how oscillations and tensions between reality and representation should be seen as an important factor for imagining the decomposition of reality on the one hand and as an alternative for anticipating our alienation in the construction of reality itself on the other.