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The video "The Right Man" consists of re-takes on three classical Alfred Hitchcock films: Vertigo, Rear Window, and Psycho. Solomons appropriates a single scene from each film, inserting himself, as a participant in the film, as it were; always in an observing, voyeuristic role, conspicuous, but without changing a thing in the original narrative, in the same signature way that Hitchcock himself appeared in his films. Without actually becoming part of the narrative, the artist’s presence furnishes the film with extra meaning. In a way, Solomons here is retorting to Hitchcock, the master of composition and the viewer’s visual manipulation, showing that even in his most charged scenes there is still void, room for someone else. (Sergio Eidelsztein)

 

Catalogue No. 468

File: The Archive

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

The Right Man: Psycho

The video "The Right Man" consists of re-takes on three classical Alfred Hitchcock films: Vertigo, Rear Window, and Psycho. Solomons appropriates a single scene from each film, inserting himself, as a participant in the film, as it were; always in an observing, voyeuristic role, conspicuous, but without changing a thing in the original narrative, in the same signature way that Hitchcock himself appeared in his films. Without actually becoming part of the narrative, the artist’s presence furnishes the film with extra meaning. In a way, Solomons here is retorting to Hitchcock, the master of composition and the viewer’s visual manipulation, showing that even in his most charged scenes there is still void, room for someone else. (Sergio Eidelsztein)

 

Catalogue No. 468

File: The Archive

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis