I use a window in a corridor at the university of Fine Arts of Marseille as subject matter for this work. I recorded the window in slide-film for two years, while using photographs, slides, mirrors, and white spray. This work includes two processes: one is site installation and the other is a slide projection showing a record of the process of producing the installation.

After taking photographs of the window frame, from inside and out, I glued photographs on the window, occasionally putting the photograph of the frame taken from inside on the outside of the window, and vice versa. The rest of the window, except for the part the photograph takes up, is sprayed white. The photograph is sometimes replaced with a mirror, or slide-film of a different size. The size and location change regularly, overlapping the actual view of the place and the medium's view causing memory and oblivion.

These processes are chronicled in slide-film for installation, two series, and the inside and outside. The window, slightly smaller than a real window, is hung between other spaces, and slide projectors project two images that fit this frame. The programmed rhythm here echoes a Bach fugue. The images inside and outside, that cannot be seen simultaneously, are recomposed and overlap, creating a conceptual window completely different from a real window.


June 25–July 10, 1986, "Video and Multimedia", "Soungui Kim et ses Inveités", Vieille Charité, sponsored by IMEREC, Marseille