The camera zooms in on a detail in an abstract painting, while a laconic voice-over talks about surfaces, compositions and geometric principles. Simon Dybbroe Møller mimes the classical presentation of art, as we know it from TV programmes in the 1960's and 1970's. While the imagery continues its restless panning across non-figurative paintings, the pedagogic voice-over changes its focus. With corresponding, hypnotically lingering descriptions, and with the same meticulous terminology, the voice now talks about the relationships between the participants of a fashionable dinner party, about monolithic skyscrapers and about limousines with tinted windows. From being a distanced, academic and omniscient narrator, the voice progressively changes into an increasingly distinct subjective position, obviously affected by frustration, fascination and desire. As is often the case in Dybbroe Møller's works, 'The Plain' also turns historic art practices and their reception upside down. And likewise 'The Plain', which was produced for Double Take, balances on a dizzying tightrope between nostalgic veneration and critical irony.
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