PRINT January 2007

Rosalind Nashashibi

Rosalind Nashashibi, Midwest, 2002, stills from a color film in 16 mm, 12 minutes.

A PLUG SOCKET, three screw holes in the floor, the back of an electric toothbrush . . . A pair of earrings above a string of pearls, a bank logo, two wooden knobs and a letter slot . . . Sequences like these make up one part of Eyeballing, a film shot in New York in 2005 by London-based artist Rosalind Nashashibi. The objects appear on-screen for around fifteen seconds apiece in static, unbroken shots. Given the title’s prompt, you quickly get the picture: Each item appears to have two rudimentary eyes and a mouth. They are not so disparate after all, but form a collection of found faces, an absurd archive.

Like Nashashibi’s other films, Eyeballing was shot on 16 mm, and the medium in this instance has a particular effect. Seeing faces in random objects is child’s play, but here, with a basic knowledge of film, you realize immediately that the artist had to set up a camera and

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