The exhibition "Pictures in Time" is devoted to the relationship between the picture and the moving image. The carefully selected frame – often based on models from painting – is the dominant element in the presented films, videos, and slide shows. The slowness of these images draws attention to aspects of the subject, the composition, and time. Animations, tableaux vivants, still lifes, and filmed image cycles characterize the selection.
In her film "The Servant" (2007), British artist Sam Taylor-Wood employs the "tableau vivant" format – the truest possible detailed reenactment of paintings and sculptures by people. When revisiting the format in video art, the focus shifts to minimal movements – such as the performers’ inhalation and exhalation – because, as living creatures, the performers cannot remain motionless. In "The Servant", the animation of the static image occurs in the flickering flame of a cigarette lighter, rendering the passage of time perceptible and, thus, distinguishing the film from painting. Fischli/Weiss's "Blumenprojektion, Herbst" [Flower Projections, Autumn] focuses on the hypnotic still life of nature situated at the transition to cinematography. During the projection of each static double-exposed slide, the observer's gaze wanders over opulent details, whereby the slow transition from one slide to the next creates a rhythmic quality.