Xandra Popescu & Larisa Crunţeanu

Fake Mirror
video, 3’27”, 2015

We live in the rhythm of the layers containing us, the rhythm of two realities advancing and receding in the same time. Two worlds cannibalizing each other in an illusion of separation.

According to Debord separation is the alpha and omega of the spectacle¹. At the foundation of his concept of the society of the spectacle is the affirmation of a radical transition of direct experience towards representation. The image as index of looking becomes the opposition of knowledge. To look means to remain outside, contemplating a reality that has ceased to find an ideal unity.

The two video frames intersect in a tight angle, paradoxically passing behind each other.

We advance towards the invisible with the illusion of a dialogue. On both the stages, figures of the other are being introduced continuously, rejecting any dramaturgical development.

In the exhibition paradigm, Fake Mirror proposes a dialectical operation. Thus, Fake Mirror’s thesis is positioned in the visible spectrum. The corresponding antithesis is a Shepard Tone – an auditory illusion in which sounds seem to descend forever.

If the thesis manifests itself as externality² and comfortable image, the antithesis responds with an effect of urgency – the Shepard Tone can generate a fight or fligh³ instinct – activating a need for opposition, or run. For those who suffer from anxiety or panic attacks, the antithesis can be extremely unpleasant, causing sensations of faint or nausea. If you experiment such symptoms, please leave the room, sit in a quiet place and put your head between your knees.

Between the ascendant visual trajectory and the descendant aural trajectory, on the line formed by the intersection of the two plans colliding into an angle below one degree, at the border with the sincope (in its double meaning: from medicine – loss of consciousness, and from music – moving the accent of a measure), the synthesis emerges as a simultaneous suspension of both the body and the place.

¹ Guy Debord – The Society of the Spectacle
² Jean Luc Nancy, The Visible and the Invisible: “In recognizing transcendence, being-at-adistance, being “always further on” (p. 217), as the very manner of being of the visible, we come to recognize that the visible is not a multitude of spatio-temporal individuals that would have to be connected and combined by a mind constitutive of relations; it is a field, a relief, a topography unfolding by differentiation, by segregation, which holds together not by laws, but “through the reflections, shadows, levels, and horizons between things.“
³ http://en.wikipedia.org/wiki/Fight-or-flight_response