video installation, Freies Museum Berlin

The Cinematic Imaginary employs a stroboscopic effect to make manifest picnoleptic lapses of consciousness. Projecting moving and still framces onto a rotating mirror causes a recurring eclipse, while sending the reflected image rotating around the walls of the exhibition space. The video was created by waving a finger back and forth in front of the light source, which
is the source of the flashing, spliced with archival images, which fleetingly pass before one’s eyes. The content of the spliced-in frames varies between scientific models, snapshots, and wide-ranging interpretations of circularity, as a reflection of rotation and photographic apertures.
This piece was created in response to Paul Virilio’s text, The Aesthetics of Disappearance, particularly an excerpt in which he writes of a young boy (who later grew up to be a photographer) whose first camera was his bedroom: using the slit of his blinds as an aperture, and spinning around and around, in order to adjust the image.
With this work, I am specifically interested in focusing upon the in-between of images, and the way in which we mediate reality and time by fracturing it into discrete pieces. Working between the fragmentary time of the cinematic and the coninuous time of the rotating mirror, and contrasting “static” images with “moving” images, this is an exploration of a space/time between movement-image and time-image.

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