As such, the work is not a portrait of Traore, but more a grotesque portrayal of the postcolonial situation in Italy and that country’s perception of immigrants.
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Cézanne was one of the first to reexamine the possibilities of a static image based on an idea and not on the accidental and rational perception of natural phenomena.
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The construction of the scene; the construction of the shot; the construction of the spatial configuration; and, hence, the construction of our perception; all take place within possible reversals.
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John Berger backed up the statement quoted above with that classic example of the representation of perception, Magritte’s The Key to Dreams (‘English’ canvas from the La Clef des Songes series, 1935).
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In a whirlwind of perceptions and eliminations, Persecution of the White Car develops a singular story about an elusive place and a glance reflected like sunlight on the white lacquer work of the car in the title.
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What is most enchanting is the casual discovery that one doesn’t have to create anything new after all; one simply has to put that which already exists – mirrors, chairs, cultural identities – back into the flow of perception at a given point in time.
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The development of characters, short stories, perceptions of place, collected physical objects, as well as a diary of the process will be way as the building blocks of a soap opera; continuity over time is an important characteristic of the soap format.
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Klein’s issues regarding the threadbare perception and experience of the urban environment, influenced by factors of all sorts, are illuminating for the project ‘Any Resemblance to Existing Persons is Purely Coincidental (Stories of Mr. Wood)’ by photographer Martine Stig and graphic designer Vanessa van Dam.
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Pablo Leûn de la Barra will run a ‘Parangole’ workshop in which he will make Hèlio Oiticica-style Parangoles with the participants – items loosely resembling coats, jackets and capes (though hardly identifiable as clothing) made of plastic and other scraps of material, and devised with the intention of creating new perceptions.
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Above all, if the spectator has taken the time to delve deep into the construct of his or her own memory, the work of Manon de Boer beckons the spectator to create his or her own mental rooms from the material constructed during the perception of the work, and to become concurrently aware of the process that brings such memories to life.
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