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Diana BaldonClick here to Print this Page
Mark Aerial Waller
All of Waller's practice requires viewers to be alert interpreters, able to respond, evaluate, judge, transform and be transformed.

Through multiple types of sensory elements and devices - music, smoke, light -, spectators are forced to think about how they get implicated and destabilised. Spectatorship is shaped into a psychological event that places the decentralized subject back inside the social situation.

When the last scene of Reversion of the Beast Folk at Ciné Lumière overlapped spots and streaks of colour onto the amplifying volume of the Umbanda music, rays of pink light shined on inside the auditorium. Waller's public sat puzzled, unable to understand whether the video had ended, uncertain of whether they should remain seated or if they should leave. On this basis, Waller's oeuvre cannot be categorised simply as 'video installation'. By considering the whole cinema-situation, it treats the auditorium as the interior of the human head. It defines a new modality of viewing that switches from sunset to darkness, from the domesticated sun glowing from inside the projector machine to the night of the spectres that dream and pray for the moment 'where it will all end.'

Diana Baldon is an Italian curator and writer currently based in Vienna where she is Curator-in-Residence at the Academy of Fine Arts Vienna. She is a regular contributor to Artforum.

Diana Baldon, May 2008
Simon and the Radioactive Flesh (2004) with Giles Round
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