Liminal Lumen: New Films and Projector Works by Luis Recoder | Chicago Reader

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Luis Recoder's name is often miswritten as “Recorder,” but the real spelling is the more auspicious of the two: his abstract films and performance pieces aim at a reinscription of the relationship between image and viewer far more fundamental than that achieved by most experimental films. Working without a camera, Recoder fogs the film in a variety of ways, producing subtly shifting light patterns whose soft edges subvert the standard geometries of most abstract imagery. With their slow shifts and absence of overt rhythmic organization, these pieces invite a focused response to pure color in a manner that calls to mind John Cage's proposed definition of art: “paying attention.” Whitney Museum curator Chrissie Isles is correct in comparing Recoder's films to the work of light sculptor James Turrell: both artists use light to explore the boundaries between the palpable and the insubstantial. In the two-projector piece Available Light: Shift (2001) Recoder fits one projection tightly inside the other. The smaller, rectangular one emphasizes the spatial limits of the projected frame; the surrounding projection proposes a limitless radiance. 83 min.

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