toronto

“Press/Enter”

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

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