Adjacent Hour, nearby hour, points in the direction of dusk, the period when sunlight recedes and the sky darkens. Several of the works in the exhibition revolve precisely around the day’s constant oscillation between periods of light and darkness, day and night. In Nimar’s photographic series Solgång, a burning candle, the candle, is set against the artificial in the form of the background image on a computer that changes based on the sun’s movement right there and then. The pictures are taken at the same time of day, but at different times during the year. In Österholm’s photographic series At Day’s Close, the reflection of the sunset is instead captured in an even dormant street lamp. In Lantern Smashers, Österholm instead focuses on nesting sparrows that occupy gas lanterns for their own use, something that turns off the lights during the entire nesting period and gives an ounce of darkness back to the city.
Common to Nimar and Österholm is also their conceptual approach to the photographic medium, as well as the desire to combine the photographic with the sculptural. For the exhibition, the artists have constructed a kind of open wall structure that also makes the back of the frames visible. The structure, with its angle, is inspired by the art gallery’s characteristic architecture.