In a work that recalls the photograms of Moholy-Nagy, artist Thea Djordjadze has composed this Texte zur Kunst edition from materials gathered from her immediate surroundings (a box, a cup, a lens, a spare fotomat photo), which, having been lain on a scanner bed and recorded, appear here distilled, a selected random moment in the process of their everyday use. What is captured by the machine is something not accessible to bare sight: a topography of surfaces turned alien as light passes through the eyeglass to reflect/register the portrait, before disappearing into the surrounding voids. It is the screen’s gaze we see here, the vantage of the contemporary kino-eye. This work, “Fomasas,” follows a logical process that was clearly apparent in the Berlin-based artist’s installation at MIT List Center this winter and can likewise be seen in the project for her exhibition at MoMA PS1 this spring. A student of Rosemarie Trockel, with whom she collaborated on the interior design for the art-film venue Image Movement in Berlin, Djordjadze produces work that operates not unlike structuralist film: less images or sculptures than stop-motion frames, impressions reflecting the conditions of creation, available means, political circumstances, and the forces of chance.