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The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
The light setup, 2005 - Malmö Konsthall, Sweden, 2005 - Photo: Jens Ziehe
The light setup, 2005
Malmö Konsthall, Sweden, 2005
Photo: Jens Ziehe
Sketch for The light setup, 2005
Sketch for The light setup, 2005
VIII - The vessel interview, part II: Flight from Dubrovnik to Berlin, 2007
VIII - The vessel interview, part II: Flight from Dubrovnik to Berlin, 2007
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This installation consists of four projection screens: two backlit with fluorescent light and two with daylight filtering through them. At Malmö Konsthall in Sweden, a backlit screen was installed on one wall, and a daylight screen was placed vis-à-vis in front of a glass façade. Two further screens were mounted on the ceiling underneath the roof-light void: behind the first, nearest to the daylight screen, the natural light was blacked out and fluorescent lights installed, whereas the second, nearest to the fluorescentlight wall, admitted daylight indirectly into the space. Controlling each fluorescent tube in the ceiling and on the wall, a computer-activated dimmer continuously modified their intensity and brightness. As the colour of the artificial light and daylight varied, viewers were challenged to differentiate between the two.