Los Angeles

Mathias Poledna

Richard Telles Fine Art

Version, 2004, the most recent film by Mathias Poledna, is strongly reminiscent of his last one, Actualité, 2002. Once again, the gallery was painted black, and a 16 mm projector beamed a film onto the far wall. And this work, too, depicts a group of attractive twentysomethings shot against a black backdrop, conveying a vaguely purgatorial impression. The sense that Poledna’s subjects are spirits trapped in a liminal zone between art gallery and movie theater is, again, corroborated by a looping repetition that keeps them turning hellishly in place, as well as by the pronounced grain of the film stock. By subtly reconfiguring his material over time, Poledna works with the “fallout,” as he puts it, from a prior project. The audience, in turn, is asked to connect the dots between then and now.

Against this backdrop of continuity, every instance of misregistration and distinction becomes

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