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Like Warhol's Shadows, the darkened frames projected zoopraxiscope-like as silhouettes stacked build a dizzying depleting motion that like Bausch's Kontakthof's accounting of the vast inflections of the word "Darling" or Foster Wallace's Pale King opening sentence's taxnomic vegetation, Sturtevant's Finite/Infinite, the trend for lists in art writing, the cycling and dispensing of information bludgeon's our affective connection to it, a "diminished emotional response to a stimulation after repeated exposure to it," a desensitization, a very modern ennui building tragic subjects recalling Ranciere's quip on Bela Tarr: "one does not win against rain or repetition."
See too: Zak Kitnick at Clearing, Zak Kitnick at Rowhouse Project