In the single-monitor work Profile, 2000, we observe female soldiers engaged in target practice. The women are wearing sound-deadening headsets, which look like the headphones worn by visitors to the exhibition, who thus become complicit in the situation they see before them. From a distance, one hears the instructor give orders to shoot and observes up close how these orders are carried out by the soldiers. A crescendo of sound, apparently coming from nowhere, both dramatizes the situation and reduces the documentary force of the work.
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