http://www.frieze.com/issue/review/tate_t/  See below for PDF version

Review of Altermodern – Tate Triennial 2009, by Jorg Heiser, Frieze, April 2009. p.108-109.pdf

[Extract] Lindsay Seers, on the other hand, presents a film in which the camera generates experience. Extramission 6 (Black Maria) (2009) tells the story of the artist as a child who grew up mute due to her vivid photographic memory, later transforming herself into a living camera – by placing photo paper in her mouth and exposing it through her lips – before deciding to become a projector. The deadpan tale is like a cross between a BBC documentary and the dream logic of a David Lynch movie. At one point a black model hut flies through the air, and you realize you’re watching Seers’ projection in a hut based on Thomas Edison’s first commercial film production studio of 1893. Bourriaud contrasts this with Walead Beshty’s prosaic glass cubes displayed on the cardboard boxes in which they were sent around the world; unpadded, registering every fissure like seismographs of global trade (‘FedEx Sculptures’, 2005–ongoing). Both Seers and Beshty present unorthodox ways of recording the world around them with very different means.