![](https://white-cube.transforms.svdcdn.com/production/imported-exhibition-images/gary-hill-reflex-chamber-1996-medium-res.jpg?w=720&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1677875920&s=7f4399716055346bb9c286862815b2d9 720w, https://white-cube.transforms.svdcdn.com/production/imported-exhibition-images/gary-hill-reflex-chamber-1996-medium-res.jpg?w=960&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1677875920&s=f6548d106d3420c42b0dda8e6795b279 960w, https://white-cube.transforms.svdcdn.com/production/imported-exhibition-images/gary-hill-reflex-chamber-1996-medium-res.jpg?w=1200&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1677875920&s=0326fd11a3b8ee28ee20958c6247ec77 1200w)
Gary Hill
Reflex Chamber
1996年12月13日-1997年2月1日
日期
1996年12月13日-1997年2月1日
地点
London
Gary Hill’s exhibition at White Cube Duke Street proposed seeing as a sensuous, phenomenological experience. The four-metre-square gallery space was transformed into something akin to the internal black box of a camera, or the chamber behind the eye. A series of images from a ten-minute video loop were carried on a square white table that occupied the centre of the space and acted as a horizontal projection surface, and the darkness was intermittently shot through with a pulsating light, and spoken words heard on a monologue soundtrack. The sequence of images are strangely evocative: a slow scan around the façade of an elegant town house, a partially-obstructed view through the window of a train, a still camera shot of the sea at night, grey waves in dark motion, a drab room, and the face of the artist appearing in close-up. When the projector switches off, an intense light flashes on and then strobes. The table top momentarily becomes a blinding pool that leaves a square green after-image on the retina, and a voice is heard speaking a series of seemingly disconnected, free-flowing thoughts such as: ‘Thoughts can’t help but mix. Suddenly I’m beside myself,’ and, ‘I’ve lived a series of images since when. It is precisely this ‘when’ that haunts.’
Reflex Chamber (1996), is an atmospheric and haunting work that invites the viewer to enter a secretive space to witness and meditate on the magical enactment of visual experience. The work suggests vision should be understood as a physical and temporal process that involves memory, mood and projection.
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