(Photo: Istvan Virag)
In Thetaville the gallery space has become the setting for a labyrinthian scene, formerly used as a stage set for the two videos on view in the gallery. With the support of honeycomb cardboard walls, mirrors and doors Freuchen created the illusion of an endless maze inside the gallery prior to the exhibition itself, using it both as a backdrop and central element for his film. The film’s protagonist finds himself drifting around in this structure – bored, immersed in day-dreams or impatiently searching for an escape.
The film’s title Thetaville is, apart from its reference to Jean-Luc Godard's sci-noir Alphaville (1965), a transliteration of the brain’s low-frequency theta waves – where self-consciousness slips away and one can find oneself staring mindlessly at the ceiling. This tripped state is not only introverted, but also fleeting and all-embracing – as if subjectivity seeps out into the surroundings. In addition to the videos the exhibition consists of the deconstructed stage-set: partly turned into sculpture, partly into photographic collages presented in a newspaper produced especially for the exhibition. All the elements on view are thus modifications of one and the same situation, entangling the viewer in an ambient and theatrical setting as intruder, witness and co-protagonist.