E 17 reality itself is being replicated, unfolding in several parallel loops. In this manner, De-Kalo undermines our sense of time as continuous. Time does not merely move forward, as it appears to do when we watch a single sequence of images; it instead repeats itself, and at times even seems to rewind backwards. When the representation of a specific moment in time and space ends, it immediately reappears – a second, third, and even fourth time. In the case of architectural representations, this strategy also undermines the principle of linear perspective, which relies on a single vanishing point. At the same time, it deconstructs the linear axis underlying moving cinematic images, whose forward movement usually unfolds as a uniform continuum. Instead, De-Kalo proposes a more complex movement through the dimensions of space and time – so that each projection moves both forward and backward, while expanding into space by means of multiple screens. This movement overturns familiar temporal and spatial linear constructions, blurring accepted hierarchies. In this sense, De-Kalo’s action is not only an aesthetic or technical choice, but a conceptual strategy that attempts to question accepted methods for representing space and time. Since the Renaissance, conceptions of space have been structured by linear perspective and the logic of a single vanishing point, while time has been governed by a model of linear, forward-moving progression. In the 15th century, the Italian architect and sculptor Filippo Brunelleschi demonstrated how to structure a representation converging on one such point, thus organizing the represented space geometrically. The perspectival method amounted to a regulatory mechanism allowing for both the orientation and control of the represented scene. This logic was, to a large degree, later adapted by cinematic representations, in which the images move on a single continuum and events follow a natural progression. Linear perspective was replaced by the camera, along with continuously unfolding film reels that visually structure time as a linear continuum of images. De-Kalo’s shots, film sequences, and saturated installations deconstruct this perspectival order. By splitting the screen and suspending the timing of the different channels, she enables the same temporal moment to appear in several different spatial locations. Time ceases to function as a single continuum, becoming a multilayered system. The event and its repetition, past and present, unfold in parallel, rather than as a single distinct sequence. De-Kalo’s artistic practice thus presents time not as linear, but as repetitive, layered, and unfolding along multiple axes. At the same time, the space itself is destabilized: in lieu of a single perspective organizing spatial representation, she offers multiple gazes and temporal dimensions that unfold simultaneously. The significance of her gesture is thus not only formal, but also perceptual and conceptual: she seeks to show how memory, history, or the experience of place do not unfold along a single linear axis, but are rather composed of layers of temporality, spatiality, gazes and repetitions that coexist simultaneously.
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