The Power Plant

“Press/Enter: Between Seduction and Disbelief,” an exhibition of interactive technological works, investigated the potential eroticism in the relations between the human and the mechanical. In the best of these works, time is experienced as a viscous material on whose surface the viewer slips. Jim Campbell’s Memory/Recollection, 1980, often shown on the interactive-media circuit, captures and stores images of viewers, replaying them on a series of small monitors with increasing image decay. The image eventually disintegrates in the final monitor, occasioning a jab of nostalgia.

Campbell’s Untitled (for Heisenberg), 1994–95, is a concise and beautifully realized comment on voyeurism. In a completely dark room, a bed of salt on a shallow plinth receives the video-projection of two naked embracing bodies. As one approaches, the scale of the image increases while its resolution decreases, and

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the September 1995 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.