Being in the gallery space of Spruth Magers London is much like being on exhibition yourself; its floor-to-ceiling windows look onto the street, where passers by peer in at people viewing the art. Apt really for David Maljkovic’s exhibition, which takes as its formal springboard the process of framing and containing that film enacts on the people, places, and time it captures.
In the windowed room in question, Maljkovic has set up a whirring 16mm projector which throws out flickering white images alongside the soundtrack of a scene from Orson Welles’ The Trail (1962), the film at the heart of the deconstructive exhibition. The piece relies on the suggestive powers of cinema to conjure up a scene or at least a controlled atmosphere to its gallery audience... (read more)
No comments:
Post a Comment