Karina Nimmerfall
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[2004] Day for Night

Wood construction, paint, two rear-projection videos, two projection mirrors
Dimensions variable (approx. 400 x 420 x 230 cm)

Evolving from the installation Miami (Adams Hotel) from 2003, Day for Night refers to a cinematic technique used to simulate a night scene by using a blue filter, in Europe known as "American Night". Riffing off this metaphor, single frames are cut from different camera angles of a film's interior (supposedly the Renaissance Hotel in Detroit) and combined into two new image-space projections, in order to create a new experience of the interior. In this way, a new timeline is formed, one disturbing the illusion of the real by referring to its construction; meanwhile the actors and certain details are digitally erased, overlayed instead with film material shot from a high-rise in Chicago, and the computer-generated movements of the passing of a winter snowstorm.

"[...] Nimmerfall's installations main drive then would seem to be the desire to design an active physical and sculptural space in order to reevaluate one's relation to these mediated images/conventions. As a result, their pacing is languid. One or two slight scenes (pulled from background information found in a cinematic frame) operate now as sleepy cuts: both as an image cut from another and cut into physical/sculptural others (the installations, with the use of multiple projectors and screens, plus a large array of walls, divide the image into a multiplicity of views). And now these fresh cuts can amount to a new (both virtual and physical) reality for a once trivial moment in time. [...]" - Jeff Luckey

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