< space some space > Trained across empty space, aimed toward a public floor partially ‘Virtualized’ by a fake grey plastic sheet, our webcam (MAMcam - Musée @'Art Moderne cam) confronts its public differently from batteries of Presse-Text ‘surveillance cameras on nearby pillars, precisely by its focus on the Potence ofits empty gaze. uA History of Grey” ur webcam wal - its suppor - is ‘painted wih the hardware of information flow - cables - arranged according o a plan (power cables below and data cables above, attached with accenting tapes of various types and tones), with some folds of cable leaking’ information along their painterly course, in the form of attached drawings, texts and images to behold, while never isthe primary image - the webcam frame of view - made visible in the room itself In essence, the work deals with the baroque nature of information flow, exhibiting its form as the representation of emotion, yet concealing parially its message within the monagic nature of information fow. We provoke the museumgoers to ‘complete our picture, by ether imagining the digi-etinal representation beheld by the webcams eye on the wall or exitthe actual museum space, to re-enter virualy via the Internet from a terminal elsewhere, to view the real-time frames captured by the webcam eye remotely. Frames primarily of empty space interrupted by a collaboration is based upon the concept of extending museal aura by constructing a virtual counterpart ofits intemal space by exporting or sucking out some space via webcam. This ‘is, when viewed from inside the museum, a reversal of the webcams normal function in new media of importing space as pictues into the ‘museumm. AS such, itis contingent upon the generosity of the museum in ‘donating’ some empty space ‘or export fo our collaborative project. Emptiness, as we say, infront of our webcam suppor - the wal, which we address as an information painting, cables as cues fo the information they contain, that which is passing in and out ofthe museum space; 2s well, emptiness accented by our partial framing ofthe webcam's field of digi-vision wit a ‘virtual grey floor - pieces of shiny and matte and folding thick plastic -a walk-on sculpture, which connects the origin ofthe remotely visible webcam image to its target - the museum ise. MAMcam is the second hlujmbjoft webcam montage, the fst being part of aninstallaion at the Musée d'art modeme Paris for 5 months in 2000 during the ‘Voila’ show about memory. With the generosity of the MAM St Etienne, we plan to extend this ‘exportation’ of emply space full of ‘museal aura by instaling several kindred webcams in similar ways Virtually, yet differently in terms of the support aesthetic contingent upon the architecture and social nature in forthcoming cultural institutions. Each module of exported space, space some space, being ‘modified by our minimal addition of ‘white cube’ fragments, represented by our insertion of grey or white plastic areas into the webcams, virtual frame and the museum's real space as cues, buiidng along with the kindred webcams exporting space a virtual museal space of aura ‘onsine, perhaps best imagined as a bridge, which essentially is a space that collects allocations at either end, inthis case virtual and real surroundings for museum guests.