Panoramic images on screens, placed in light boxes (2003)
Marin Kasimir uses the “panorama” technique to integrate the passenger into this representation of reality, with the help of two images one in front of the other. As soon as the camera is focused on a point, the space which surrounds it becomes an open scene which people can enter and exit, in which they can participate and play a role. The two images which the artist chose for his panorama (CERIA in Anderlecht and Place de la Monnaie in the heart of Brussels) are clearly contrasted, both with regard to the mise-en-scène and to the staged time. The CERIA panorama refers to the four seasons and to art history. Whereas at the Place de la Monnaie, the rhythm of a day already generates enough variety: shops, faris, opera interval… Here the space itself forms a real stage.
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MARIN KASIMIR (München, 1957)
Marin Kasimir left his home city of Munich at the beginning of the 1980s for Brussels, where he now lives and works. But his work not only adorns public and private spaces in this country, as he is also popular in the Netherlands and France. Marin Kasimir found international fame with his extremely detailed panoramic photos of city architecture which also feature a lot of people, making the overall impression very lively. The photos were taken with a rotating camera which turns on its axis. This “roundshot” camera increases the shot time to twenty minutes per round and can increase its field of vision to up to 360°. The idea of framing, as in classical painting, is not the intention here. The panoramic photos lie somewhere in between wall paintings, photography, cinema and architecture. Marin Kasimir’s creations have been recognised several times, among others with the “Prix de la Jeune Peinture Belge” (Young Belgian painting prize) (1985) and with a prize for photography featuring the city of Paris (1995).