The photographs (I Feel You, The Rest, and The Ambiguities Of My Desires) by Jenny Holzer on display at the show, document some of the artist’s interventions in the public space. Holzer utilizes light projection to deploy texts onto architecture, outdoor scenarios and urban landscapes, playing with the reflection, image distortion on the surface of a water pond and the impression of sharpness originated in the juxtaposition of letters with a facade, wall, or a large-size fabric. These visual resources, create different projection planes (closer – further) that, with no doubt, have an affective impact on the meaning of the message. The artist employs neons and luminous structures to generate light that, once projected, merges into the city lights, creating a new visual texture of an urban postcard. It may bring to mind another form of immaterial integration, some sort of tattoo that, just like a photograph, conveys a pigment printed message. The primary role of Holzer’s synthetic texts is to interact with the spectator and to provoke their self-questioning. Far from pretending to establish a dogma or impose an idea, the artist challenges the viewer and invites everybody to play an intellectual game, full of emotional and political meanings.
The set of seven drawings by Raha Raissnia refer to different sections of a canto or a poem that maintain a dialog with each other. These drawings comprise a visual statement, a pictorial re-interpretation of a series of found slides depicting a mosque from the Sultanate period in India, currently in ruins. In "Parthenon", Raissnia takes the language used in her previous drawings to another level, by applying it to the large format. This painting was conceived in front of Retiro Park, during the artist’s residency in Madrid in 2019. Driven by a desire to break away from the conventional cinematic screen, some of Raissnia’s loop film installations are projected through semi-transparent, hanging mobile and double screens to create architectural installations that both articulate light as it moves through space and diffuse it through layers of screens and shadow. Her works relate through their process of fusing analogue with digital, the hand painted with the photographic. The architectonic forms and passages in Raissnia’s diaphanous imagery are charged with notions that relate to human history and existence.
The video by Alex Reynolds, "Nine Seconds of Black", offers the spectator the testimony of a patient as she undergoes an eye operation. A corporal experience provokes her to pose an intellectual question. How far can the human body, the human eye, go? What are its limits? Shall we consider valid the use of technology and cameras to extend the body scope? Does it change the relationship we establish with other people, with the environment? When there is light, there are these questions raised. But in the video, there are also moments of complete blindness, nine seconds of an absolute black between images. Only the digital noise reveals that there is a camera, trying to register between torches and flashlights; a search in the darkness.
By perceiving light and obscurity, the works by the three artists play the same role as the technical resources play in cinematographic creations. They act affectively in order to convey a message in a particular way, to illuminate or obscure an issue, to blur it and let the spectator envisage between shadows and lights. It allows them to highlight or “turn off” a matter that is implied to the vision itself, to technology, to the extension of a human body, etc.