Displaying images

How can I best display the images I create - is it with a projector, or a glass screen? After talking to Terry and Nick, I have been trying to determine how I should show my work. Without having a set environment for my work, it seemed impossible to design the accompanying soundscape.

I have in mind a plinth/column with glass, a vitrine, or something in between, to place a screen within. This seems more suitable than the large plastic-sheet projection idea I had previously,  as I want bright images. My intention is also to show the screen as part of the exhibit, to give emphasis on the observational nature of my work, and a sense of archived documentation and reflection on history. The vitrine would be used if I am to combine a book in displaying the clips, and I'm also looking into a display column with glass windows.

Next week I will get measurements of the NUCA vitrine, and the screens (as well as weighing them, to evaluate how I could hoist them), and discussing it with Nick and Terry. I am intrigued about how we could design the sound scape for images behing a glass or plastic. I'll also check the control menu of the screens to see if there is a timer setting.

Bernauer Strasse

A clip to experiment with transitions and discordance. I'd like to present a sense of uncertainty - as many Berliners felt throughout the unification process - and to maintain a level of ambiguous air, also a reflection on diversity of perceptions and experiences since 1989.

whiteonwhite:algorithmicnoir & Winter Garden by Eve Sussman

I manage to visit the Eve Sussman exhibition at Haunch of Venison on the last day, almost by luck. It's very last-minute organisation as usual, and I have left my camera at work.

Winter Garden by Sussman and Simon Lee changes subtly from one video clip - some as still as a photograph - to another. Windows of pre-fab buildings in former-USSR cities are shown on 3 screens, morphing from one to the next, illustrating the dream that once was being "destroyed in a patchwork of humanity" [Haunch of Venison, 2011]. These images left me standing, waiting for more, just so that I can find out what happens next... or does it? Then I see a passerby. How to tell the future from the past, v.2, by Sussman and Angela Christlieb also uses 3 screens, shot during a 72-hour train journey. The window frames in the screen blurs the sence of time, and I'm left to wonder what documentation/observation defines.

How to tell the future from the past v.2, 2009

Whiteonwhite:algorithmicnoir is a film being edited live by a software, combining 2637 video clips with sound, creating "the narrative through unexpected juxtapositions" endless and never repeated (Haunch of Venison London, 2011).

shots from whiteonwhite:algorithmicthriller, 2011

Haunch of Venison [2011] Eve Sussman | Rufus Corporation whiteonwhite:algorithmicthriller  2011. [Online] http://www.haunchofvenison.com/en/#page=london.current.eve_sussman
 [13/04/2011]

Haunch of Venison London (2011) Eve Sussman | Rufus Corporation  whiteonwhite:algorithmicnoir. [Information sheet]. p.1.

Christlieb, A. [2011] How to tell the future from the Past, v.2. [Online]
 http://www.angelachristlieb.com/htttfftp.html [15/04/2011]

Rufus Corporation [2011] How to tell the future from the past v.2. [Online]
 http://www.rufuscorporation.com/projects.html#_self [15/04/2011]