Miriam Bajtala presented two works. Swing, a video installation, addressed the manipulation of cinematic perspective through devices of framing and aggressive sound. Fixing a camera on a grating, rusty swing, she submitted a banal scenario to distortion as landscape and horizon shifted to and from. With the intervention Drucker, Bajtala responded to the architecture of the Schindler House in a series of photographs of people pressed up against windows, looking in from outside. This work continued the artist’s investigation of internal and external spaces in the institutional realm.

Transparadiso, the team of Barbara Holub and Paul Rajakovics, offered Plastique Bertrand, a performative work. Working in the format of an “art fundraising dinner,” the artists examined the elements that made up this kind of social event, from physical logistics to etiquette, the art market, and what goes on “under the table.” The artists staged this exclusive event during the opening, conspicuously relegating most attendees to the “uninvited.” Dinner guests enacted rituals such as toasts scripted by Holub and Rajakovics and focused on absurd elements, including foodstuffs, ludicrous behavior and communications. Relics of the performance, including artist-designed place mats with inscribed dinner conversations, remained on exhibition.

Constanze Schweiger examined the interactions of daily life and abstraction in two bodies of work. In Chameleons, a series of photographic portraits, the artist created staged situations, posing close friends in settings that match outfits of their own choosing. The surfaces of the photographs engendered abstract patterns even as they resonated with deeper meanings, while the subjects’ frank poses revealed the formal aspects of everyday decisions. Schweiger’s Quilts paintings were based on the tradition of pattern quilt-making, a method used by quiltmakers to share their designs. The paintings referenced the world of ordinary objects and their social contexts, as well as the formalism of abstract painting.

Florian Hecker offered computer generated music in Inverted Henon Map. Based on microsonic research and stochastic synthesis, the work was realized in close collaboration with Curtis Roads and Stephen Travis Pope from CREATE at University of California at Santa Barbara and Diana Deutsch from the Department of Psychology at the University of California at San Diego. Navigating the space with mobile headphones, the visitor explored the formerly-invisible realm of micro-sound, or sound particles. Dissolving the more rigid bricks of musical architecture—notes and intervals—into a more fluid medium led to new, compelling compositional possibilities. Manipulating sounds originated in a “reverberation and binaural” recording session, Hecker utilized the mathematical algorithims of the stochastic process to generate structure and worked with the particles of the sound signal—the waves—to generate the sound itself.