Filmoteka Muzeum

Emphasising the material dimension of the film camera, the artist points to the opposition of the space of the film frame (what is represented) and the off-screen space (what is excluded, namely the reality continuum). Such a strategy, as Katherine Russell writes, “emphasises the subjugation of reality to form.The frame of the image has its own autonomy, limiting the 'view' to a simple economy: inside/outside. The nature of the 'inside' is determined by the composition and detail, on the 'outside' there is an unknown space, which is never entirely described. The fixed frame represents the intentionality of phenomenological consciousness, but also the limits of the visible and the knowable. The fixed frame indicates the subject of perception. The four sides of the frame also direct our attention to what is outside of them, i.e. the continuum of reality as defined by the anti-continuum of the frame.”

Quoted from: Ł. Ronduda, Polish Art of the 70s. Avant-garde, Warsaw 2009; C. Russel, Experimental Ethnography, London 1999, p. 158.