›Madame Guillotine‹

For his expansive site-specific installation of the Madame Guillotine series Mark Soo takes as his starting point historical etchings and lithographs found in books about the French Revolution. These are then photo- graphed using a mobile-phone camera, blown-up, and printed in a darkroom, and consequently, superim- posed with a photogram created on the paper’s surface. Finally, on top of these, a laser light-projection scans the exhibition space, tracing its lines and traversing his prints. Different representational regimes, social histories, and and industrial apparatus are thus pitted against each other, in a sort of compressed montage. The cut—of the shutter, but also of the guillotine—evokes a non-linear media archaeology, a reading of photo- graphy against its historical and technological grain (Source: Excerpt from the wall-label of the exhibition ›Resisting Images‹, Biennale für aktuelle Fotografie ›Farewell Photography‹)


Mark Soo: Madame Guillotine, 2017, Installation, Laser Light Projektor, C-Prints