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As Hal Foster suggests, the surreal does not originate externally but emerges from an intensified engagement with the real – it is the result of friction between seeing and materiality. The insistent presence of objects complicates the world – it exposes logic operating parallel to everyday experience. Here the surreal becomes a consequence of perception – a moment when the real begins to function as a condensed and autonomous structure.
Impossible Dreams contemplates the ordinary. A common object or simple image can undoubtedly become unreal as soon as we begin to carefully investigate it. However maybe it is enough to just let it be to experience that something rather known and definite can be so elusive, almost surreal.
The video Voyage to the Center of the Phone Lines by Michel Auder (b. 1945, France) is grounded in a hyperrealist recording that reveals slowly alternating, gazed-out-at images fro…
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As Hal Foster suggests, the surreal does not originate externally but emerges from an intensified engagement with the real – it is the result of friction between seeing and materiality. The insistent presence of objects complicates the world – it exposes logic operating parallel to everyday experience. Here the surreal becomes a consequence of perception – a moment when the real begins to function as a condensed and autonomous structure.
Impossible Dreams contemplates the ordinary. A common object or simple image can undoubtedly become unreal as soon as we begin to carefully investigate it. However maybe it is enough to just let it be to experience that something rather known and definite can be so elusive, almost surreal.
The video Voyage to the Center of the Phone Lines by Michel Auder (b. 1945, France) is grounded in a hyperrealist recording that reveals slowly alternating, gazed-out-at images fro…
