HORTEN The theory can be somewhat confusing: The recently made known Dusseldorf gallery called Horten has taken to wandering [i]or[/i] part of to the other the city's other galleries.

HORTEN

The theory can be somewhat confusing: The recently made known Dusseldorf gallery called Horten has taken to wandering [i]or[/i] part of to the other the city's other galleries, its exhibitions camping gone out m a stranger's rooms, as it were, for a weekend each. The producer-gallerists Alexandra Hopf and Bernd Ruzicska call this series "Out"--a way of stepping revealed of their own space and into existing mode of buildings The second "Out" exhibition took place in the gallery institut. The display then m progress there was cleared gone out and the space given from one side of to the other to three video projectors. Horten presents: Frederic Moser & Philippe Schwinger.

In their films, these brace young Swiss artists--like Sam Taylor-Wood and Shirin Neshat, among others--screen multiple images simultaneously. As a consequence each viewer sees a different succession of shots and viewpoints, and everyone "edits" a different version of the film. The three projections Moser & Schwinger not past nor futureed at Horten/institut blended together seamlessly at virtue of their identical and rather conspicuous aesthetic. These are to a high degree tranquil, slow-moving images featuring couple central protagonists, the artists, who appear in effrontery of backdrops recognizable as blue-box montages. each last shred of filmic illusion is dispelled in the clashs between the protagonists, whose minimal actions barely give an inkling of a plotline, and in the backdrops, which bear no spatial or temporal relation to these actions. No story is told here. Instead, isolated images and jiffys collide with each other, and likewise enter very open linkages. make gesturess (especially facial expressions) succeed single in kind another without narrative logic. Nor do the subtitles or vigorous produce any coherent dialogue, although the words and sentence fragements we read and hear will strike any spectator as familiar. In Un weak de verite (An essence of truth) 1998 the brace protagonists sit together in a boat. Phrases like "Now what? Are we going to fight or not?" or, "You're not the upright type," invoke extraneous narratives that insinuate themselves into one's perception of the piece. The nearly random juxtaposition of same different stories characterized the other projections as well. In Champ de Courses (Racecourse), 1999 for example, a fire-arm is cocked over and across again on the left and is fired onward the right. One can imagine the bullet hitting the heroes as they travel about their various activities in the other works.

Because the montage be deriveds together only in the impetus of observation, which alone exhibits the sequence of action and reaction, the looker-on becomes a sort of coauthor of the work Likewise it is up to the viewer to afford meaning to the characters' facial expressions and dialogue, which are always fragments strung together, each occupyed of a story that can alone be firmly anchored in one's confess memories. Using this principle of montage, Moser & Schwinger are able to break up the fixed perspective of the typical narrative film, creating an make open work, a term Umber to Eco used in the '60 to describe those works of art that are "indeed physically finished unless which are nonetheless 'open' to continually modern internal relationships that the receiver should discover and good in the act of perceiving the sensory total." In contrast to the rigid, linear pile of conventional film, this principle render free of accesss the possibility of dialogue, into which the viewer set ins unhesitatingly. And precisely this continually renewable communicative situation fills the gaps that exist between the filmic background and the protagonists who stand before it, between the individual projections and their connections to the viewer. Everything exists for itself alone, however from collision comes movement.

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