the reverse darkroom

Here you can work physically with images, test, modify and track a process

The process is basic:

1) The fixer unfixes, leaving sound and image fragmented instead of a whole

2) The stop bath adds time

3) The developer generates new ideas and forms from the material

4) An enlarger allows you to focus in and out

And you can turn on the radio or bring people in if you like. Conversations are encouraged. Click on each letter for evidence and more. 

Does time and sound + photography just = making a film?

Well, no. There is an element of the photographic that remains important here. The Reverse Darkroom was built, with the method of ‘unfastening’ in mind, in order to provide a meeting point for photography and cinema, primarily for thinking about our relationship to images through making them m o v e.

Why a darkroom, and not Adobe Lightroom?

It is not a nostalgic gesture; a hark back to analog times. In a time of immaterial, screen-based image-cultures, the Reverse Darkroom re-appropriates this physical space as a much-needed place of tactility and unpredictable conversation, its processes as useful metaphors for a slower-paced mode of reflection. To think beyond the ‘instant’, towards EXPERIENCE and maybe even INTERPRETATION, in a space of indeterminate time.


Just photographs?

Importantly, no. Over the course of the research, the still image came to also be a text, a sound. From photography comes the act of observation and the notion of incomplete time: statis as a starting point of potential to explore something from multiple angles. Spatially, temporally, narratively, not necessarily with a visual stimuli as the first port of call.


Villem Flusser, The Gesture of Photography

Villem Flusser, The Gesture of Photography

Villem Flusser, from Gestures

Luigi Ghirri

Philippe Dubois 

Edison Kinetoscope's Record of a Sneeze

Dag Alveng, The Photographer Shoots Himself

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