Most of the previous video works I’d seen by Marie José Burki were about suspense, stasis, waiting: for instance, the monumentally scaled projections of Exposure: Dawn, 1997, which turned the gallery walls into windows through which one saw prostitutes in the red-light districts of Antwerp and Brussels waiting for their clients. Neither discursive nor narrative, the projections approached, instead, the stillness of mural painting, though in sharp tension with a sense of boredom and expectation that could only be evoked by the fact that these were, after all, moving images, if minimally so.

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