Seemingly the two scenes are identical in every detail: The mirroring of two vigorous pensioners dancing expressively in theirmiddle-class living room. With lilting steps they are cutting up the floor on the Persian carpet. Surrounded by a paneled dresser and bureau, the domesticity is cheerfully converted into a dancing pleasure. Yet something ruptures the sweet idyll: changes, skips and additions have sneaked into the doubling of events. In search of these differences the keen eye takes in scenes andmagazines, and is finally satisfied to find them. The doubling of images withmistakes—in the present case the art historical device of the comparative look is activated within American weekend entertainment.
Ceal Floyer’s (born 1968) works typically require an attentive and engaged viewing. The precision and evocativeness Floyer applies to her minimal installations, objects and films challenge our perception. Analytically she lays open the structural character of things. Upon their inversion her objects of interest reveal their quiet poetics.