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The video mural When Today Makes Yesterday Tomorrow
(2008/2021) consists of the recording of a pre-arranged performance
done by a casual group of people exchanging greetings, hugging, and
handshaking. By utilizing short time-loops of the original footage, that
obscure the beginning and end of the video, and projecting the inverted
negative of the positive black-and-white footage, Lejman adds an
element of abstraction to his work. The video takes on a new
universality through this inversion and the indeterminate, faceless
figures that are being seen from the perspective of a surveillance
camera. And that is what Lejman’s projection works are about: the
conscious act of seeing. Recognizing the projection as a projection. Not
as an illusion, but as an image that appears, a clear projection. Only
rarely in everyday life do we have the opportunity to see our own
projections consciously. Our lives are determined by those patterns of
perception that cover up our actual perceptions from moment to moment,
inserting them into our usual references and systems, colonizing and
categorizing them, and making them manageable in the context of the
environment in which we live and its labels. At some moments, the
structure tears, and we can see what we could have heard, seen, and
experienced beyond our projected perceptions. Thus, Lejman makes
materials available to us that allow us to pick up on our greatest
perceptual trap: our own projections.
The work by its casual
creation, unrelated at that time to the current global situation, proves
the importance of the difference between the time of production and the
time of the work being 'conceived'. As far as the work was originally
produced as experimental, unrelated footage, the time of exposing it
conceptually 'completes' the work by providing it with a new, current
meaning, which includes the pandemically 'forbidden' gesture of
greeting, but also the symbolical quality of the figures in 'negative'
(as if tested 'negative') and the surveillance footage quality of the
work, drawing on the 'aesthetics of control'.