BijlmAIR 2011 – formalities
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In a formal sense, Obstructions is akin to the avant-garde films of the 1920s and 1930s.
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The projection underneath it is smaller, focusing the viewer’s attention on the formal aspects of the installation.
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The two oldest pieces in the exhibition, Arm and Catch On the Rebound, both from 1996, formally refer to the human body.
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Huma Bhabha (b. Pakistan, 1962) appropriates the formal language of ancient art, a language that comes across as archaic.
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Pascale Gatzen approaches fashion as a formal system and moving first and foremost within the immaterial world of thought.
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In this way he invests the raw formal language of security, which often implies threat and danger, with a high degree of intimacy.
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Through their formal structure, these installations appear more cerebral and minimal than the recent work shown in Bureau Amsterdam.
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As a team they evolved their own formal discourse, consisting of images showing different kinds of techniques such as collage and found footage.
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