This is essentially paradoxical and as such, the motivation behind his painstaking research can only be observed in the paintings it inspired; it cannot be spelt out logically.
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With varying degrees of involvement we observe a feverish world that incessantly draws us in tighter, only to throw us back again in a rhythm that is syncopated by false starts.
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Images from the collective memory, social codes, but also individual associations ('the colour of the dress your mother wore that day when...') determine our understanding of what is observed.
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Despite the observer's interest in her body, her movements, her large hands and her voice, she is not sexualized as a "mysterious, black woman", nor is she turned into a stereotype image of "dark Africa".
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As part of SMBA’s tenth anniversary in 2004 she presents a (re)interpretation of Bureau Amsterdam’s exhibition history in which the roles of artist and observer, of maker, narrator and viewer, become blurred.
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Because they work with film, De Rijke and De Rooij have to contend with the same limitation as Hitchcock: ten minutes is all there is and they opt to observe that maximum time without resorting to ‘covert montage’.
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The use of series forces the viewer to look more carefully, to observe the slight differences in the empty sky with its floating clouds, in the position of the camera, in the countryside or the location of an industrial vehicle.
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The core of the works is the paradox that despite or perhaps because of the fact that the world is now within everyone’s reach through television, the Internet and cheap flights, our position as observer has only become more fragmentary.
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She turned official “Subject Access Request Forms” into love letters she addressed to “the Observer” - eventually breaking through the wall of technology and bureaucracy to establish real relationships with human beings on the other side.
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We would have to abandon every convention we tacitly observed in entering Reversal Room, be it the language of intentionality defining behaviour or our reliance on narrative for the description of events, even that repeated within the montage of films.
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