The element of chance in making perceived reality visible in early photography is at the crux of an interesting collaborative  project between Carrie Yamaoka and Thomas Fougeirol. The exhibition takes as its starting point a beautifully back-lit photogram of a hand by Géro Bonnet from 1912. Like Susan Hiller’s Aura works, the image is not so much a recording of the supposed electromagnetic waves that emanate from the body but instead opens the door to wider discussions on what roles chance and process play in the depiction of the invisible. Both artists are deeply concerned with questions of what is real and how to measure perception. Fougeirol’s practice employs the liquidity of paint to record actions such as the falling of debris, the gathering of dust or the dropping of rain. The influence of Yves Klein, in accessing the spiritual and visceral core of objects and their recordings on the surface of his paintings, is unmistakable. Carrie Yamaoka works with light in exposing the limitation of perception. The artist rubs a mirror-like substance on surfaces that are determined by chance. The results are flawed transcriptions of reality where the viewer gets implicated through the reflective surface. Seen side-by-side, both artist’s works force reflections on painting’s historical predicament to create a presence from absence and the shaky territory of our own perception. At Albertz Benda through February 16.