Los Angeles

Mathias Poledna

Hammer Museum

Mathias Poledna has designated his works “fragments,” a term that could apply to their subject matter as well as to their relation to one another. Poledna has produced just a few short films: Actualité, 2001; Western Recording, 2003; Version, 2004; and now Crystal Palace, 2006. Each one is the centerpiece of a series of highly controlled cinematic environments in which every aspect of the presentation is significant, from the film gauge and stock to the make of the projector, the configuration of the screen, and the absence or presence of seating. Above all, he exploits the potential of the gallery context to encourage a close reading of what might otherwise be experienced in a state of distraction. If we understand cinema as a hallucination engine, Poledna’s installations amount to an objective extrusion of its psychic contents. Typically, we remain within the space of the shot, its

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the April 2007 issue for $17 or the ONLINE EDITION for $5.99.

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