An odd juxtaposition is what Antonioni proposes in his movie Blow Up. A random encounter in a park, a supposed crime and a single piece of evidence, lost in the fuzzy grains of a photograph. Black and white dots that make up the preamble of what will be a binary image. In his project Code Up, Giselle Beiguelman reminds us that digital images are the product of language. A strictly programmed language. With Antonioni's movie as a base, the artist experiments with the different parameters that "describe" the digital image, the pixel, the decomposition of color between red, green and blue, and with the system for refreshing the screen, changing them radically.
Beyond the radical differences between the photographic and digital realms, beyond the differences between information and data, Beiguelman sets a trap similar to Antonioni's. Like the photographer in Blow Up, we finally realize that the documentary evidence does not seem to lead to any reality.