What appears to be a linear and objective guide to the production of a cyanotype—a photographic printing process that produces a blue image—is conflated with images of the pharmaceuticalchemical industry in Switzerland and speculations on historical, social, and material conditions of the same photographic process.
From the exposure of images to sunlight to their development and fixation under running water, we witness the transformation of matter into image. While waiting for the blue prints to expose and develop, and during that in-between space of transformation and fixation, a different kind of image emerges: an anaesthetic one that is disentangled from the continuity of time, and is without a fixed frame of reference.
Acting as part performer, part scientist, Kerstin Schroedinger engages in a performance-based image production that extends her ongoing research into the multi-layered histories of analog film production. Set inside Niagara Custom Lab, Toronto’s very own independent film laboratory dedicated to the processing and printing of celluloid film, Schroedinger re-imagines Bläue
(originally conceived as a single-channel film) into a one-time expanded double-channel performance.