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Unstable Bodies installs an auto-stereoscopic projection system (3D without glasses) drawing on patents from engineers and filmmakers of the early 20th century. The installation presents an analogue film projection as stereoscopic journey in-between and beyond scale, taking pleasure in its contaminations and blurrings. The viewer perceives the screened footage three-dimensionally without the aid of glasses, while moving through the installation. see also under cyclostereoscope
Stereoscopic vision relies on the spatial distance of, at least,
two images. It is the space between these images that is turned into the subject matter here. Thus, it is not only a take on scale in the sense of transitioning from macro to micro, but also on the positioning of point of views and their relationship in constructing an image, and its realities of depths.
The view of the subject of looking, the machine, looks back at itself.
The linear movement of scaling down and up gets diffracted, by a reversely engineered gaze around its corners. Different techniques and material of magnification and measurement are appropriated to rebuild a diaphanous mode of seeing the world. In the movement through clouds of points, pixels and artefacts, unexpected relations of colors, signa- tures, fades, relief begin to shimmer through and question notions of background, boundaries, collaboration, and identity.
Looking at film on a microscopic scale (as, for example, in Fig. 2), its smallest unit, we find ourselves on a terrain formed by the emulsion of silver for black and white film, or with three colors added, red, green, and blue. Unstable Bodies does not stop at the single, magnified picture, but instead creates a movement through scale, techniques of scaling and their representation and microscopic surfaces: image sensors and their Bayer-patterns and silver crystals on the filmbase of analogue film.
