This exhibition and film programme shifts the focus from image to machine and provides - along films - fifteen installations with projectors, shadow play, wooden cameras and window drawings.
A rover of mediums who favours formal structures and humorous ruptures, Andrew Lampert’s slippery live shows disrupt expectations of concept and execution, intention and results. This new entry in his unruly Projector Destruction series will – to give fair warning – not go as planned.
Philipp Hartmann made a film, toured the German cinema scene with it and made that into a film too: an overview of an eclectic mix of cinemas all run by cinephiles. Shared love entails shared suffering: every Kino is under threat.
Exhibiting one of Bijl’s composition trouvées (in this case an employee time clock) is more than just a whimsical joke. It is primarily because of the references to mechanics, quantification and the economisation of time that this work resonates so exceptionally as part of an exhibition full of time-based art.
With a quote from Chairman Mao as the title for this installation, viewers see a rectangular, paper puppet theatre inhabited by a number of clearly visible shadow puppets in the foreground, whilst the background is subtly coloured, changing infinitesimally slowly in a manner invisible to the naked eye.