Resultate:  1

Visible 01 (hallway), Visible 02 (hallway)
  • Visible 01 (hallway), Visible 02 (hallway), 2009
  • mixed media
  • 50’ video projection with sound, digital montage print pinned on the wall 107 x 138 cm
  • 2009
  • In the video work Visible 01 (hallway), an undefined character is waiting in a hallway for the duration of the film. He or she is killing time in a transitory space, in between exterior and interior, exhibition and intimacy. The camera registers his or her sparse movements from a static point of view, without any other chronology than that of passing time. The details registered (combined with the sounds that come from outside the image) activate the space like an echo chamber in which nothing is happening except for an attempt to withdraw from any activity; in a context with no other finality than that of retreating from it and with the sole intention of killing the time that is spent there.

    Paradoxically, this is not what the camera registers. A scraping sound, a cough or any other minor detail in this moving image becomes loaded with drama, since the open shutter of the camera (like the eye of the spectator) immediately tends to construct a narrative. While appearing to register a non-event in real time, it does not and can not truthfully mediate the precarious condition of that which is happening in front of the lens, because the lens itself can be considered a filter that cuts away the context that is necessary to fully grasp what is going on. In fact, the inherent dramaturgy of the camera ignores the context of the observed and kills that which it is looking at by imposing a false finality.

    As such, subject and medium are linked by a tautology; while the subject attempts to annihilate him or herself and make time disappear, the camera registers the existence of time in constant suspension. This tautology could synthesize the difficulty of making the visibility of micro-phenomena perceptible, though our social spaces are saturated by them.

    This inevitable notion of the cancellation of the subject by the medium is staged in the photographic image Visible 02 (hallway). Displayed as a statement that has to be exceeded, it allows the sequencing of the image to belong to the spectator. The observation starts at the centre of the image to work its way to the borders where the crop marks suggest a larger grid that goes beyond the printed paper.

    Moreover, underneath the image -but still on the object- a textual summation is given. Existing on the same plane as the image, this text underlines the acceptance of technical representation as objective but, by default, shows its true nature to be as precarious as the phenomenon it is attempting to render. It does not generate an opening towards reality starting from the motive, instead, the motive implodes and makes place for the visibility of a generalized viewing regime, based on technical procedures.