The Sensitive Screen Beyond Cinema

To mark the Alain Fleischer retrospective at the Maison europenne de la photographie in Paris in 2003 (La Vitesse d'vasion), Hubert Damisch returned to his Ecrans sensible [Sensitive Screens] (1993-1994). The first part of the installation was quite familiar: the projection of moving images onto a "screen-like" surface, in continuity with the transformation of the museum's rooms into screening rooms, and of the projected images into exhibited images. From a post-cinematographic angle beyond institutional cinema, Jean-Christophe Royoux has called this arrangement "exhibition cinema". 1 However, once the projection of a single, static shot lasting ten minutes or so was over, performers brandishing brushes covered that white, available surface, whose projection had repressed its material nature, with a whitish liquid, or rather a developer. This enabled the spectators to witness an unexpected experience: the gradual upsurge of black and white images on the screen, in effect those "deposited", so to speak, during the projection, "the first lineaments of an image that tallied with the imprint which that

Archaeology · Art · Art history · Fleischer · Geography · German · Humanities · Movie theater · Visual arts · Cinema and Media Studies · Computer Science

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  Open Access•Hubert Damisch, Giovanni Careri et al.•Perspective•2013

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