Sync (2005) is entirely comprised of sampled images, some as short as single frames, both from mainstream film and pornography. Each of the three projections is organized around a different theme: fights, sex and theatre audiences. All three screens progress at a rate of several shots per second, resulting in a violent, almost hysterical barrage of information on the viewer, heightened by a syncopated percussion-based sound track that drives the pace even harder. By eliminating the original continuity and narrative in the source material, Brambilla achieves a new visual choreography.

Brambilla emphasizes the formulaic and derivative constructs of the way sex and violence are portrayed by Hollywood, and interpreted by audiences. Over time, this sensory overload leads to an increasing tolerance for, and resistance to graphic sex and brutality, both in the movies and in the news media in general.

Sync also highlights the controversial issues in and around the representation of sexuality in art, opening up for debate the question of whether art can be disguised as pornography, or vice-versa, and leaves the viewer free to choose his or her own path through these intersections of art and sexuality.

Also on view will be Sea of Tranquility (2006), a single channel video projection that re-imagines the historic Apollo 11 landing on the moon’s surface in 1969.