Notes for an enigma
— 17 May 1998
Location: Winkel van Sinkel
Learning White, Francisco Ruiz de Infante (France, 1998)
The fundamental question in the new work by Francisco Ruiz Infante is whether we walk on ruins or foundations. Are there definite boundaries between what has been constructed and what has been destroyed? His works also underlines the unavoidably poetic nature of everyday phenomena. This Spanish video and installation designer presents ‘Learning White’ in a space upstairs in the coach-house of the Winkel Van Sinkel, which is designed to reflect the character of these audience form part of this work. Lamps and plaster-boards are spread throughout the space creating an environment which assimilates the video image and the furniture.
Interiors, Alix Pearlstein (USA, 1996)
The visual artist Alix Pearlstein is preoccupied with the idea of ‘reinventing’ or ‘redecorating’ in her (re) discovery of the self from existing motifs, objects and styles. Her approach has a mildly ironic undertone, which is comparable to some of the work by artists like Cindy Sherman and Matthew Barney. Pearlstein, usually based in New York, precents her recent work ‘Interiors’. She combines video, sculpture and two-dimensional pieces by using recurrent images and motifs, which she appropriates from art and culture – in its broadest sense. Her installations are total environments’ where art and reality merge.
Algo_Flicker.002, Kevin McCoys & Jeff Guess (USA/France, 1998)
This video installation creates an expansive experience of a place located close by McCoy and Guess filmed short ten second bursts of this location to video, which are processed in real-time by a computer using algorhylhmic programmes. This continuously modulating montage creates the Impression of a multitude of simultaneous perspectives. In this way the installation seems to create a visual map of the place itself.
Window Pane, Sue Johnson (USA, 1997)
This is an interactive video installation which explores the relationship between perception and reality. The static projection of a window presents a view of a snowbound landscape with a solitary, leafless tree. When the viewer moves, individual panes of glass in the window frame slart to change. The distinction between space and time disappears when the panorama is replaced with images of travel, family life and love.
I’m So Fucking Kind, Morgan Schagerberg (Sweden, 1997)
Polaroid photos are nonchalantly scattered about on a table between colourful sweets. A video recording of the same room is projected, life-size, onto a woll, Suddenly there is on huge explosion of aggression, which only ends when the whole room has been turned upside-down.
Bildkompressor, Gunter Kruger (Germany, 1997)
Kruger has been searching for a while for a way in which the deluge of information on television might be presented to viewers with no time to spare. He used a camera obscura to record the ZDF broadcast of 1 May 1997 in a number of sequences. In this installation Kruger presents five of his ‘compressions’ which vary in length from one to thirty minutes.
Start End, Dominique Milbeo (France, 1997)
Three projectors set up in the corner of a room conjure up a strong, powerful story which repeats itself. It is created entirely from visual information which normally only occurs before the start and after the end of a film; leader and runoff tapes, arrows, colour charts, hand written words and a countdown are among the images used. When places between the words ‘Start’ and ‘End’, these images become cues for illusions, fears and failure.
Strike Gently Away From The Body – Scar 2/The Growth of Wild Flesh (Belgium, 1997)
Karen Vanderborgtit takes film material, in which young women are proffered to men equipped with cameras and erections, and then subiects it to remodelling using scissors and glue. The SM film collage which she produces is further deconstructed during its projection.