In Im Leo a red figure stands in the balcony doorway of a white model room—but at the same time outside in the open. Holding a mirror in her hand, Bajtala redirects sunlight, blinding the camera lens, effacing the image in rhythmic intervals. The soundtrack accentuates this rhythmization through its synchronization with the image. Alone this slight movement of an otherwise motionless body on the threshold between the paradoxical inner and outer realms suffices to address the ‘blind spot’ of the medium, and at the same time to render it incapacitated. Bajtala undertakes with the mirror, itself a threshold, literally a transformation of visibility and invisibility and in so doing sharpens awareness of changing realities within their context of representation and reproduction.
