8 Channel lights in loop. 2 LED / Aluminium Light Boxes 70x100 B&W Print; 1 LED / Aluminium Light Box 100x140 Color Print; 5 LED Panels; Editing and Engineering: Rachid Moro. Created on the occasion of a solo show at Vessleroom Project, Berlin, curated by Carolina Jiménez. Documentation: Vlad Margulis.
“It is mostly at night that the highest fear of crime occurs. Although all of the senses provide information about the environment, it is through vision that the majority of information is acquired and processed by the brain. Vision, therefore, has a tremendous impact on the decision making process.” (from the Guideline on Security Lighting for People, Property, and Public Spaces, 2003)
Read Carolina Jiménez's text:
"...For her solo show at Vesselroom Project, as a part of Transmediale Vorspiel, Rodeh has conceived and developed a new time-based light installation embedded in the architecture of the Vessleroom space, intervened the former office checked-impersonal-ceiling of Vesselroom Project with five LED panels that bring it to life. Together with three lit photographs, they perform a chase of lights in a silent performance of rhythm. It’s not so common to find traces of human presence in Rodeh’s last productions. Here, she includes three staged images that feature three male figures that transform viewers into real voyeurs, as if inside a “ monitoring system” that in fact, is not really watching anything or anyone. We confront three allegedly studied (even fashionable) scenes. Possible but not actual.
The visual maze of Safe and Sound “The Chase” challenges the eyesight. By doing so, Rodeh examines the role of perception, the act of looking, the importance of vision, its processes and structures, in a society where the individual is constantly harassed by the voyeuristic vertigo caused by multiple proposed images.
It is, in short, to keep the viewer alert and active, to make them aware of the process of vision and perception of what is happening, awakening in us our status of actors, performers of our own reality. An answer to the limits (and manipulation) of the look that want to be imposed and how the observation of life can begin to replace life itself."