The fleeting moment of seeing and been seen
2018
Space instalation, Pinhole,Infrared sensor, Camera,Framed Photo
2018
Space instalation, Pinhole,Infrared sensor, Camera,Framed Photo
The conditions of the exhibition were the starting point of this work: the museum was plunged into total darkness and the public was required to enter through the back door. Based on these premises, the decision to take the front door as the primary material of the work. In a way, an entrance is an architectural element but it also determines who can enter and who has the power of looking at whom. In effect, by closing the front door of the museum and turning it into an image-producing mechanism, the tension between visibility and invisibility was subjected to a new reading.
The installation is in three parts:
the first one is a pinhole projection, a reminder of the first photographic technologies. The light that seeps through the pin hole on the closed door forms a barely visible image of the outside and imposes a forced passage on the viewer.
The second part of the installation is now centered on the body of the viewer. To reach the mechanism, she has to climb a set of stairs that have been added to the wall of the museum. A camera is triggered and the flash from the photo production illuminates the visitor in the exact moment of the shooting. The one who comes to look is now the one who is being looked at, an obvious displacement in the power relations.
The final part of the installation is the photograph that has just been taken. It shows the outside of the museum. The viewers are in the museum, trapped in the darkness and their image is projected on the outside as if it had crossed a threshold they were unable to. It is the reinterpretation of the allegory of the cave. The body is left behind in a closed space while the image can be projected outside.
The installation is in three parts:
the first one is a pinhole projection, a reminder of the first photographic technologies. The light that seeps through the pin hole on the closed door forms a barely visible image of the outside and imposes a forced passage on the viewer.
The second part of the installation is now centered on the body of the viewer. To reach the mechanism, she has to climb a set of stairs that have been added to the wall of the museum. A camera is triggered and the flash from the photo production illuminates the visitor in the exact moment of the shooting. The one who comes to look is now the one who is being looked at, an obvious displacement in the power relations.
The final part of the installation is the photograph that has just been taken. It shows the outside of the museum. The viewers are in the museum, trapped in the darkness and their image is projected on the outside as if it had crossed a threshold they were unable to. It is the reinterpretation of the allegory of the cave. The body is left behind in a closed space while the image can be projected outside.