Krzysztof Wodiczko: Projections

The scouts

Wodiczko's projection work is genuinely unhinged—he's basically hijacking the public sphere's most monumental real estate to force strangers into confrontation with themselves, which should be obnoxious but somehow isn't; May's doc mostly stays out of the way and lets the architectural vandalism speak.

This is essential viewing for anyone tracking how late-twentieth-century practice-based art documentation established itself as its own formal problem—May's structural restraint (letting the projections breathe, the silences settle) positions the film squarely in the lineage of Wiseman and the structural documentary, treating Wodiczko's interventions as sites of genuine public ceremony rather than spectacle.

The decision to hold the camera steady on each building *before* and *after* the projection reveals itself—turning architecture into a before-and-after that refuses the documentary impulse to cut away—is the entire film, and it works because May commits to the boring necessity of patience over the temptation of movement.