Visualisation of web project :
        "Reverse Collection" is a montage of documentary photography by Peter Lind,
        documenting fragment of culture, art, political, urban and economical history from 1976 to 2012.

        Please choose HD playback to enable that essential text is readable.

        (The project was supported by : The Danish Arts Foundation / Statens Kunstfond)
        50% STORY 2001
        Please choose HD playback to enable that essential text is readable.

        2015 Video visualization of 2001 web project :

        "50% story 'is the last work of net art by Peter Lind focused on a different interpretation 
        of the image protection. Written in java viewing a photo documentary as a blur obtained by 
        filters that can not even make sense the real picture.
        The password prompt is appropriate to display it properly accompanied by a suggestion,
        which often leads the way.
        The work builds a perverse mechanism of frustrated voyeurism, which puts the user into
        a reality filtered and encrypted with limited access, but with a strange feedback accomplice
        by the entity censorship."
        From : NEURAL MAGAZINE
        The original project on the web URL, but difficult to view with a borwser of today.
        The project was in 2002 part of the exhibition “Digital Biedermeier – Reproducing the private”
        at WUK in Vienna Austria.
        FILMCITY 1996
visualising of photographic work, montage of 35 mm filmstrip. "About Peter Lind montages". Peter Lind´s works, printed on negatives strips, surprise us at first by the ingenious technique that he utilises. As Roland Barthes says, the essential gesture of the photographer, or to use his own words, the operator, in this instance, Peter Lind, consists of amazing the viewer. A bewilderment is brought about in his works by means of the technical twist. The images are assembled with negative strips,each negative representing a micro-fragment of a city. Just which city Peter Lind depicts is irrelevant, all contemporary cities are characterised by their homogeneity, as Rem Koolhaas articulates in his concept of generic city. The generic city traces a model of fractional progression, repeating to infinity the same elemental structural module, permitting in this way the reconstruction departing from the smaller fragment, in the case of Peter Lind´s work, a photographic fragment. And this is where he surprises us with his work: the technical ability, not so important in itself, is amalgamated perfectly with the concept. The city as a subject has often been utilised in art of the twentieth century by various social movements, whether cultural or political, as representation and as metaphor for the post-industrial society, especially after the great wars and in the 70´s, periods where our contemporary world suffered large-scale transformations. The city is the ultimate exponent of our civilisation and the majority of the protagonist in contemporary art - artist, historians, critics, etc.- are questioning themselves about the relation between the private and the public, focusing their interest on the city and the museum, and on the reality of their emblematic position in modern society and on the individual, because they represent all the implicit contradictions of our time. Peter Lind´s works, through his lucid vision of the subject, enable us to see however, that there is nothing further from reality that this subject´s photographic duplicate, and calls for a reflection on the homogeneous city as a metaphor and an interpretation of our modern word. Ana Navarrete, summer 1998. "Film City" was exhibited at Kunsthal Charlottenborg. Copenhagen 1998 and at Greenaway art Gallery. Adelaide Australia, 1999.

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