Temporal Anxiety comprises a media installation of four works examining the passage, perception and fluidity of time through natural and man-made cycles; from literal stop-motion condensing reality to extended shots questioning the nature of linear temporality.
Andreassen, off camera, is the interlocutor in a loaded conversation with his aging mother, whose days are spent in a passive fog of inactivity. She considers the absence of velocity or impetus in her life, installed in front of a television in the family home. Her son mourns the active love of a mother against the sounds of a ticking clock and images stuttering on the screen that holds her in thrall. Past and future arrive at a chemical détente—no longer mediating what is seen or not seen, said or not said.
5–9 observes the structure and goings on in a Swedish office building. The camera zooms in and out as scenes shift from tightly shot micro-dramas of unobserved workers to wide panoramic views. The building becomes a kind of stand-in for film itself; each of the hundreds of windows a frame illuminating small suggestive narratives over the proscribed period of the title, fomenting a deft and silent tension between natural observed activity and voyeuristic impulse.
Working from ideas of reciprocity law (the inverse relationship of intensity to time), Morales captures and reanimates cycles of nature into a kind of elemental filmic divination. This “as above so below”—the formation and dissipation of everything—is captured in an emulsion that refuses to work in sync with time, the Reciprocity Failure of the film's title.
Über Sehen plays with the nature of perception itself. What do we privilege when looking at something acutely and what do we miss in the process of doing so? The sonic nature of illumination is as much a player in this piece as light itself: a 50 cycle hum oscillates behind our eyes as we struggle to know what we are seeing, moving from the luminous to dark, from detail to abstraction and back.