The Blue Balcony is a cine-sculpture built for Petit Versailles Garden by the artist consortium et al.

People are invited to enter during nightly film screenings and weekend matinees.  The sculpture's interior references the atmospheric movie palaces of the 1920s' possessing a vaulted ceiling constellated with specks of light and walls doubling as façade scenery. The effect gives the impression of being in the open air, and in an unearthly place. Ambient cove lighting will be left on during the feature, as was often the practice in the atmospheric cinemas, and will change correspondingly with the tenor of the film. The three tiers of seats accommodate an audience of 14 who face two large panes of glass, and which look out onto the rippling leaves in the community garden below. Thematically the balcony is decorated with allusions to Maurice Maeterlinck's symbolist fairytale The Blue Bird, as well as to the no longer extant labyrinth of Louis XIV's Gardens of Versailles, and the 1924 silent cubist film L'Inhumaine. Featuring Georgette Leblanc as a vampish chanteuse and sets designed by the modernist architect Robert Mallet-Stevens. As plot twists shake movie viewers out of a self-shrouding world* to reveal what hitherto felt natural as constructed, The Blue Balcony undertakes with slowness to perform a sleight of hand! The projected image that audiences are accustomed to seeing on the silver screen will be permanently deferred during the duration of a visit to the balcony. The audience will still be able to hear the now disembodied soundtrack, but instead of finding an image that matches there is only surface. An algorithm will be used to process the levels of luminosity in each film frame and disperse over the walls an approximate quantity of light for said frame— the shadow of what is missing. Thus turning the black box cinema on its head to extinguish the delivery of directed attention to the periphery. Untethering the audience's eyes from their service to the image to do nothing, perhaps, but tarry. *(see Siegfried Kracauer's description of detective novels in "The Hotel Lobby" in The Mass Ornament)

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