Upon entering the installation of Anri Sala’s Now I see (2004), his first 35-mm film, the viewer is enveloped in total darkness. The effect is, at first, purposefully disorienting; then a flicker of light flashes upon a 10 x 12 foot screen. A second or two later, the face of a young man emerges from the pitch-black along with the pulse of an electric guitar. What follows seems to adhere to fairly standard conventions of rock video, with its guitar antics and male posturing, until a dog-shaped balloon falls on to the stage and disrupts the scene.
