Surveillance Panorama
Jules Spinatsch

The photographer distances himself from the spectacular and the controlled image which the spectator passively receives from other forms of media. Every part of the action is treated in the same manner,granted the same weight, and this incites the spectator to really look at the image and interpret it. In his second panorama (“Heisenberg’s Offside”), the artist links his way of approaching informationand facts to the uncertainty principle formulated by Werner Heisenberg, which stipulates that calculating the precise position of a point implies an approximation of its position in time. Thus, in theimages created by Spinatsch, the cameras never focus on the principal actor in the football match, the ball, which remains offside. Its absence from the field is due to a division of time which, contraryto the images projected in the media, is not erased from the final result; a loss of control is accepted in order to account for the speculative dimension involved in the recording of an event.

TEMPORARY DISCOMFORT, CHAPTER IV – PULVER GUT, 2001–2003; HEISENBERG’S OFFSIDE, 2005–2008; FABRE N’EST PAS VENU, 2006

 Jules Spinatsch