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Job Koelewijn

At the Henry Moore Institute, 74 The Headrow, Leeds, until 4 May

Parked in front of Leeds'Henry Moore Institute at present is a 40-seat mobile cinema: 'Continuous Performance'says the sign.Despite the soundtrack that greets you on entering, no film is being projected; what looks for a moment like a cinema's wide screen is an aperture in the wall, a frame around the urban scene outside, the forecourt of the HMI.Passers-by appear abruptly in the opening - some intrigued by it, others oblivious - but they are all playing bit-parts; when no-one is in sight, reflections in the building's polished stone cladding are a focus instead.Meanwhile, the soundtrack music swells and recedes.

Cinema on Wheels is by the Dutch artist Job Koelewijn, who has three other works inside the HMI - two so-so, the third rather wonderful.The soso ones first.There is another aperture, a small circular hole that Koelewijn has made between a gallery and the entrance corridor, the excised drum lying at the centre of the floor - some facts of construction, little more. In the big adjacent room, a shutter concealed behind full-height glazing in the middle of one wall rises and falls, simulating the passage from dawn to dusk at the speed of time-lapse photography. If this were silent it might well be effective, but the mechanism makes a terrible racket, like maladroit stagehands destroying any illusion between scenes of a play.

The third work also has a room to itself.Aptly called Kaleidoscope, it is a circular chamber with walls comprised of multi-prism Fresnel lenses (which were first used in 19th-century lighthouses).

Today they are made as thin sheets of plastic - flat on one side, ridged concentrically on the other - that let Koelewijn create strange, powerful optical illusions.Whereas the mobile cinema concentrates your gaze, this chamber fractures and disperses it.

Each panel seems to project a spheroidal membrane in front of it, patterned with multiple miniature images of its surroundings - inverted views, blurred spectra, luminosities, depending at what angle and how close you stand.Fragments within fragments, then; and en masse more destabilising than Bridget Riley in her Op Art prime.

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