Exhibition analysis: Merror, by Evelyn Bencicova

 Evelyn Bencicova

Merror

(15th June - 23 September 2018)


Figure 1). Snapshot of Merror (click to enhance image size) (original image source)

Perhaps best described by Wiktoria Michalkiewicz, the exhibition curator of Merror in Fotografiska, Sweden, Bencicova’s work “smolders with a feeling of discomfort as well as pleasurable enjoyment and attracts the viewer.” (Wiktoriami.com, 2018)

Observing the work displayed in Merror, Bencicova succeeds in creating a sense of lasting friction. This sense of friction originates from Bencicova’s habit of including eerie details within most of her imagery, however the impressions of which they made upon the viewer (a sense of detachment from reality, normalised absurdity etc.) were further amplified using strategic exhibition methods; Image sequencing and clever light placement tactfully ensured the maximum emotional dialogue (and as such, per her intent the sense of friction) between the photograph and viewer. Remember when aims to introduce a similar dialogue using nostalgia as both the catalyst of exchange and main topic of the viewer-image dialogue. 


 
Figure 2). Close-up of light source (left) and uncropped image (right). (click to enhance image size) (original image source)

As aforementioned, the curator of Merror has utilised physical light to maximise the impact of Bencicova’s work. External spotlights were calculated to illuminate the photographs at an overhead direct angle, creating two noteworthy effects. 


 
Figure 3). Analysis of framing and light effect. (click to enhance image size) (original image source)

Firstly, the light placement coupled with framing choice gives way to a twin set of shadows: a thin shadow appears on the actual photograph and another, more dominant shadow takes place on the wall beneath and adjacent to the image (see Fig 3). This usage of shadow adds to the immersive aspect and also increases the cinematic value of each image as they become reminiscent of actual scenes viewed on larger media devices. Conceptually, this aids the sense of detachment from reality (an established aspect of Bencicova’s work), by imbuing her work with a dreamlike aesthetic. Secondly, the white light emitted by the spotlights also appears to function as a frame in itself. An intangible, halo-like light framing encloses each image, and as such each image appears to pulsate with raw, unrestricted energy.

Conceptually, this glowing-from-within effect (the illusionistic equivalent of backlighting) can be appropriately adapted to fit the concept of Remember when. With spotlight clips rented from the Audio & Visual department, I aim to create a similar glow effect but not to introduce energy or complex framing, but instead to transform the light as representative of the actual feeling I associate with nostalgia; a warm, fuzzy sensation.


 
Figure 4). Analysis of image sequence. (click to enhance image size) (original image source)

The image sequencing within Merror is tactically balanced in slight asymmetrical favour, adding to the jarring aspect of her work (see Fig. 4). The layout of Remember when will also follow a slight asymmetrical plan to symbolise the consecutiveness of memories. For the most part, memories follow a linear pattern, allowing us to estimate an approximate time period of our life when a particular moment took place. However, these recollections can overlap, and sometimes minor moments are small details of a larger memory. This slight detachment from a linear pattern needs to be authentically reflected in the exhibition layout, and as such the plan is for image sequence to be mostly, but not entirely, linear whilst retaining a continuous flow. 

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