curated by_Nadim Vardag

OFF

EK: For a forty-eighth of a second it is dark and for a forty-eighth of a second there is an image. This is an interesting kind of movement for the brain. (…) It “sees” the black  continuously, whereas the same brain sees the “image” as continuous, even if it is also “flickering.” A polyphonic impression. (…)

AK: The stimulant that causes the brain to dream is the rapid exchange?

EK: Which, however, in the case of a two- hour film produces a whole hour of darkness (the brain works autonomously) and a whole hour of images (the brain responds to stimulation).

AK: And that is better than reality?

EK: Much better.

(Alexander Kluge in conversation with Nobel Prize winner Eric Kandel, in: Alexander Kluge, Cinema Stories, transl. Martin Brady and Helen  Hughes, 2007)

Relying on a variety of  media such as drawings, photographs, slide projections, and video loops, the exhibiting artists examine the mechanisms  of  the cinematographic apparatus. By breaking down edited sequences, employing suggestive lighting, and isolating individual, iconic pictorial motifs, they question methods of  mise-en-scène and explore the aesthetic of  film.