Los Angeles

Amir Zaki

Roberts & Tilton/MAK Center for Art and Architecture

To point a camera at a house is a somewhat tautological operation, as both comprise rooms—the term camera denotes an enclosed, interior space—with windows, or apertures, opening out. Among all fabricated things, the house is the camera’s closest kin and shares its most salient associations; above all, to the psyche, whether perceiving, remembering, imagining, dreaming. In The Poetics of Space, Gaston Bachelard famously described “the chief benefit of the house” in relation to this last function: “the house protects the dreamer, the house allows one to dream in peace.”

In Amir Zaki’s recent work this same set of correspondences—between architecture, mediation, and mind—is simultaneously reinforced and undermined. Three discrete but obviously interrelated photographic suites describe exteriors of houses, interiors of houses, and exteriors seen from houses. The pictures range in size between

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