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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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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Formally, the plan consisted of an initiative in housing the project, the stakes of curating it and the interest of core artists and guest artists.
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Although diverse in their formal features, these three works are emphatically related, and can be regarded as a trilogy, lacking chronological order.
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Thus it was that photographer Martine Stig a couple of years back began to work out of curiosity about the formal and substantive qualities of the snapshot.
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