Installed as a projector which projects projections, ‘Sobject’ is shown as an ubiquitous drawing which traces the image of a glitched self-portrait. The installation as whole does not make use of the physical drawing unless projected. The work explores authenticity and physicality of artworks an the debate on self-representation.
There is given a simultaneity, therefore a dividuality of inhabiting, which impinges on images, affecting temporality of their readers as well as the one of their makers (or better to say tracers), underlying a ‘dead’ time of the image-trace which is given alive only in distance. For the side of a reader and his approach to this distance, the image-process seems to raise up what Stanley Cavell, influenced by the readings of Martin Heidegger on the question concerning technology, has argued as ‘uninhabitability of the world’: - “a world where I am not” - writes Cavell in ‘The fact of television’ (1982) – “ is the world of my immortality ” which is given to me as a lack of ‘being-in-the-world’. Cavell argues about an ubiquity of spaces, given by the simultaneity of screening which transforms the relation of one’s own with the world, whereby screens binds and detouches territories. Screens of connection, as well as visual surfaces in general, seal a status for a dividual reality: a space where I am and a one where I am not.
Sobject, single channel projection, installation view,
Archway Studios, 2016