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marginally relevant. Artists like Klaus vom Bruch, Gábor Bódy, Marcel Odenbach, or Ingo Günther were interested in different content and a subjective and narrative pictorial language in a given frame, rather than exploring the vectors of image production. Just as in the 1980s, the neutral ‹white cube› established a purist standard in the exhibition world; the Sony ‹black cube› monitor took care of neutral design and standardized picture sizes.
The introduction of ever more powerful light projectors also changed the dimensions of room installations, which meant that artists could now choose their ‹framing format› for themselves. «Size matters»–from the Fuji mini-projector, which the American artist Tony Oursler practically made into the trademark for his sculptural ensembles like «Hello?» (1996), Paik's laser installations, down to the large-scale installations by an artist like Bill Viola, or the large electronic cinema projector: since the 1980s, the question of format has no longer been tied to the plinth-mounted monitor, which conveys presumed origins in the context of television. The electronic image has ‹emancipated› itself in a wide range of
presentation forms. A darkened space is now also increasingly less necessary. Museum daylight and the proximity to or confrontation with painting that this makes possible becomes a real option. The exhibition by Bill Viola in the Kunsthalle Düsseldorf in 1992 provided a succinct illustration of an artist's search for a new installation format. He experimented with plinth sculpture and large-format installations, and also with the very new, tiny Fuji projectors, for which he designed a series of minimal, postcard-size wall works. But given the success of the large-format projection, these have not appeared in any of the artist's subsequent retrospectives. The small gesture did not meet the wish for immersion, which has also been recorded historically by Oliver Grau. One technology that did establish itself immediately in the exhibition field is the wallmounted 16:9 format plasma display. We can see how seductive the connotations of ‹wall picture› are from the fact that videotapes are often presented on such a display even when they are not produced in the wide-screen format. Even lateral distortion is preferred to losing the advantage of the screen-filling image. It is tempting to suspect that