BALINT ON ROBIN’S 90 MINUTES PLUS EXTRA TIME

Robin’s first install for Nothing was really aesthetically pleasing. Not just the photograph itself, but personally I really liked the way it was installed. Not to mention the twist behind the whole work.

For the first sight seemingly the photograph was about a football field. With the usage of a wide angle lens, the pitch looks even more like an arena. It seemed to me like a serenity portrait of a battlefield, where men play hard to win the match. The image represented me the calm before the storm, a place where history is being made. 

The Photograph

By looking around the whole piece, we could read a short report of the match and a list of the players written around the extended photo paper. This made me question, why? Was this a report of a previously played match? Should I seek for traces of that match?

Installation view
The Report

But this was not the case. When I had a closer look at the photograph, I realised that the grandstand was blurry and was not empty. The cheering spectators did not move trough the exposure significantly, so they become visible on the image. Instantly Hiroshi Sugimoto’s Theaters series popped in my mind. He wanted to discover, what happens if you capture a whole movie into a single frame, with an exposure that is with the same length as the movie. According to Robin, he used the same technic, with a total exposing time of 94 minutes.

Hiroshi Sugimoto: Akron CIvic Theatre (Ohio, 1980)

Even though I really like how text and photographs as two different mediums complemented each other, the main twist in his work for me was the contradiction. He gave the viewer everything, since every move of the whole match was recorded, even wrote a detailed text about it, but since we could not see anything, the viewer end up getting nothing.

 

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