Implosion
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Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 11), flush-mounted alu. frame
102 x 178 x 5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 11), flush-mounted alu. frame
102 x 178 x 5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007), displayed on 168 iPhone 11 screens, flush-mounted in an aluminium f
96 x 170 x 5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007) on 168 iPhone screens (model 11), flush-mounted aluminium frame
102 x 178 x 5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Implosion
Wet collodion print and UV print of the Kodak building implosion (Rochester, NY, October 2007) on 140 iPhone screens (model 7), flush-mounted frame
Frame: 82,5 cm x 115,5 cm x 3,5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, October 2007), displayed on 168 iPhone 11 screens, flush-mounted in an aluminium f
96 x 170 x 5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
Implosion
Wet collodion print of the Kodak building implosion (Rochester, NY, 2007), displayed on 168 iPhone 11 screens, flush-mounted in an aluminium frame
96 x 170 x 5 cm
Unique artwork
Certificat d'authenticité
© Lucas Leffler
With Implosion, Lucas Leffler explores the history of photography through the Kodak icon. His sculptures, composed of 168 iPhone screens, juxtapose two major events in June 2007: the launch of the first iPhone by Steve Jobs and, twenty-four hours later, the implosion of the Kodak factories in Rochester, New York. Two seemingly unrelated events, but whose collision symbolizes the revolution in photography: the iPhone has become the most widely used camera on the planet.
Convinced that analog photography will survive digital, Leffler chooses the 19th-century ambrotype process to print Kodak's collapse on these used screens. Analog, fragile but tenacious, remains before your eyes.
Through this ironic work, the inert iPhone becomes a sensitive surface and a technological tomb, where digital welcomes the imprint of analog. A poetic alchemy offering Kodak symbolic revenge on Apple.