Starting 3 March: Screening Lindenstr. 35 Berlin,
daily from 5 to 9 pm

Dominik Lejman
When Today Makes Yesterday Tomorrow, 2008/2021, video projection, 2:04 min

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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'.