+ Programming + Archives Décades + News + Publications + Support Optica + Info

Décades

Exhibition

Years
1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 |

Index of artists, authors and curators

| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | R | S | T | U | V | W | Y | Z |

OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees





Sarah Jane Gorlitz, Wojciech Olejnik
From March 15th 2008 to April 19th 2008
Exposition duo

In their collaborative work, Sarah Jane Gorlitz and Wojciech Olejnik are interested in developing different strategies for describing the real, through the duration of stop-motion animation and the space of a set. In the two videos screening at Optica the passage of time is actually a sequence of moments strung together through stop-motion. Its duration is not continuous; it is based on erratic jumps and incongruities. With each passing frame this medium brings attention to its own being, to its own form, and slips away from the measure of time, away from its jurisdiction.

These videos present miniature detailed models of abandoned subway corridors and platforms—seemingly functionless and perceptibly fictional spaces. They are made not as direct replicas of actual places, but intuitively, as though from imagination or distant memory. They are constructed out of found and familiar materials, which root them in the physical world, while parallely mimicking their systems and functions. As such, these spaces are presented in situations which often fall just outside of physical reality. Each becomes a non-place, an illusion, a gap between the real and what appears to be its modelled double. Through the medium of stop-motion the water flows and ebbs, but always abruptly, irregularly. Through the small scale of the model, its tide comes in thicker, rolls slowly, like a fatty oil. It is as if within this context the water is reanimated, transfigured, no longer water but the form of water, the illusion of water.

Sarah Jane Gorlitz and Wojciech Olejnik have been collaborating on videos and sculptural installations since 2006 under the name SOFT TURNS. In 2007 they were recipients of an Ontario Arts Council emerging artist grant. They have exhibited their collective and individual work in Canada and Germany. They currently live and work in Berlin, Germany and Toronto, Canada.

Bibliographie
- «Preview, Quebec», Canadian Art, vol. 25, no 1, Printemps 2008, p.34.