The installation of scenes from throughout film's history of workers leaving the factory, is displayed on twelve monitors simultaneously. In cinematography, perception and concept diverge. Indeed, history's first film, Lumière's La sortie des usines Lumière, shows a building that doesn't look like a factory at all. It looks more like a farm. When it comes to social conflict, the showplace “in front of a factory”, is very significant; when it comes to the private life of a film's character, which really only begins after work, the factory is relegated to the background.
In Fritz Lang’s Clash by Night (1952), one sees Marilyn Monroe on the assembly line, coming out of the factory, and one hears her talking about it. But factories and movie stars are not compatible. A movie star working in a factory evokes associations of a fairy tale in which a princess must work before she attains her true calling. Factories –and the whole subject of labor– are on the fringes of film history.
MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections