Introductory text from the ‘Shared Moments’ catalogue, written by Murray Horne, CURATOR, WOOD STREET GALLERIES, PITTSEUROH, USA



 Intimate video


The work of the Dutch artist Peter Bogers entails looking at oneself, heightening our awareness of the physical and psychic parameters of our bodies, their place in time and space and all its mediated realities. Throughout, the body is detached, disassembled, deconstructed, recombined or becomes a strange receptacle for re-routed fluids, all making us question its reality. Bogers crosses one self with another, dissolving or confusing perceptual boundaries between viewer and subject, artist and audience, dream and death.

Bogers invokes and engages Henri Cartier-Bresson’s “decisive moment,” in which the viewer becomes “captured” by the camera. His Shared Moments creates an intense intimacy between the viewer and the viewed as an array of separate beings in their own time frames become choreographed and crystallized into such a moment that grows more complex as it encompasses us. Bogers alludes to what comes before and after that moment of still photography, through the time-based medium of video. His video installations stray far from the use of the medium in popular culture (especially in advertising) with its rapid fire imagery assaulting us both subliminally and overtly. Bogers repeats and slows down the action of his subjects, in contradiction to the rapidity of the film medium and its 24 frames to the second, juxtaposing, sharing and freezing moments of time that both extend and erase it. In this sense, he plays with the motivations of photography and film, in which, as essayist Iris Dressier writes, “the desire to hold on coincides with the desire to kill the moment.”


 This exhibition would not have been possible without the continual support of the board of The Pittsburgh Cultural Trust and its president, J. Kevin McMahon, The Howard Heinz Endowment and the Pennsylvania Council on the Arts. A special thank you is extended to the Mondriaan Foundation for its generous support of the exhibition.


 The installation staff of Wood Street Galleries (Erin O’Neill, George Dunn and Thaddeus Kellstadt) has been outstanding, rising once again to the occasion by meeting the added challenge of media-based work. Many thanks to Iris Dressier for her insightful essay, to Brett Yasko of Wall-to-Wall Studios, whose catalogue design extends the spirit of the exhibition and to curatorial assistant Kristen Fair’s attention to detail. Finally, we wish to thank Peter Bogers; his work is the reason for all our efforts and he made our involvement an honor and pleasure.