Gianfranco Foschino's most reliable method of escaping the city and its breakneck pace has been to contemplate and house direct experiences of the natural world within a fixed-frame cinematic framework. In a way, he creates new windows into a world that is always present, but where we rarely allow ourselves to linger. His fixed-frame films, which completely avoid camera movement, can only show us a small part of the world. Unlike Esteban Pérez, Foschino lets real time unfold within the frame itself, adding nothing outside the scene he invites us to witness, supposedly impartially. The condensed timeframe of an art gallery or museum is different from that of nature, a reality he underscores by having us stop mid-step, doing nothing but observe. Following the premise that standing still in nature is a radically different experience than passing through it on the way to somewhere else, Foschino lets time pass, minute by minute, while we try to avoid the feeling of waiting for something to happen.

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The formative works shown in this exhibition, La fenêtre (2008) and Home (2009), convey unremarkable passages of everyday life in the countryside. By highlighting the mundane and the everyday, Foschino's system opposes the natural process of forgetting, seeking to return us to that everyday fragment of vitality, offering us a window where there is no before or after. We come face to face with the window of a house and its inhabitants, who are both observers and observed. On the other screen, the life of a woman plays out in a loop as she enters and exits her clay-tiled and wood-panelled house, just for a few seconds, to chase away the chickens and let the puppy play forever.