Screening at the Night Gallery, Chicago. September 16th- October 19th.
(Another)* Rear Window is a both a love story and a mystery. Its triangular love affair centers around the relationship between the inside, the outside, and the window that comes between them. The mystery unfolds with the cinematic technique of the long zoom: think Eames’ Powers of Ten shot with a less steady hand. Staged in a virtual reality simulation of The Night Gallery, a scene is rendered through a real-time gestural line drawing beginning with a close up of a single glass block of the projection window. We zoom out as more lines emerge from the virtual pencil, revealing the drawing to be the interior of 3149 S. Morgan St. Viewers’ frame of refence, however, is constantly changing. At one moment, we are on the inside looking out the rear window, and in the next we are looking through the window from the outside into a whimsical container of floating objects that are both common and peculiar to an interior. The film skips between the role of building as object—something to look at—and volume—something to look in. *A reference to Outpost Office’s Another Campo Marzio that was screened at The Night Gallery in June and of course an admission that Hitchcock’s Rear Window came first.
Directed by and Produced by: Kelly Bair, Kristy Balliet Production Team: Yosephine Ang, Jose C. Garcia
Curated by: Ann Lui, Craig Reschke
Poster Screen Printing: Sam Fudala, Screen Arts Florida