In his ‘Towards a Philosophy of the Image’ Vilem Flusser underlines the concept of time in relation to the image: ‘While wandering over the surface of the image, one’s gaze takes in one element after another and produces temporal relationships between them. It can return to an element of the image it has already seen, and ‘before’ became ‘after’. The critical act of Lahuis towards images is the art work on the floor showing a still from Federico Fellini’s film 8 ½: the big scaffolding structure that has this alarming meaning. The monumental structure that resembles a launching pad for a hypothetical starship is a symbol of the void, the uncanny and the missing. The movie that has a tautological and autobiographical connotation shows a critique of the film industry on the one hand and the recurring tragedy of the blank page on the other: the void of inspiration. It is a film about the need to make a film, but for whom, for which industry of consumption or which political propaganda? Fellini wanted to be the author without a goal except that of reclaiming his own identity, which was imprisoned in his own past.
This whole complex situation has been reassembled in an image that Lahuis has silkscreened and, after burning it, has left on the floor. The piece entitled ‘Some…Cleanliness’ cannot escape its condition of being. As in a cage the work, longer than two metres, cannot be moved or displayed in another way or place. It is there and it will be there until its end. The end of the image imprisoned in this material as an extreme condition of being shown. The big useless structure is now presented in a dramatic condition and a precarious state.
Lorenzo Benedetti An attempt to measure the fragility of time.