Museion Passage – a freely accessible space dedicated to highlighting the museum's collection and its ties to the local area – hosts Time Frame , curated by writer and curator Saim Demircan. It is a series of projections staged within a re-installation of Dan Graham's Sonic Youth Pavilion (2008). These constitute the second chapter of the initiative carried out by Museion focused on film and video as a means of artistic expression, which began in March 2023 with a collaboration with the ZeLIG school of documentary, television and new media.

Time Frame continues its research on the documentary format. For this initiative, curator Saim Demircan presents three different approaches to documentary art, which highlight aspects of artistic practice or exhibition histories that would otherwise risk going unnoticed. All the films and videos shown, the work of director Jeff Preiss and artists Juliette Blightman and Jason Hirata, deal with different types of "time frames", i.e. temporal lapses: the average life of a gallery, the live documentation of an exhibition or the effort that lies behind the production of images.

These are structural, collaborative and subjective approaches that make use of artisanal filming or unusual editing techniques, and which are placed halfway between the work of art and the document. Projecting the works of Preiss, Blightman and Hirata in the Graham pavilion is to build a bridge to the experimental use of the moving image, typical of the late artist's early works. A bit like Graham's installations, the gallery, exhibition or performance event becomes a container in which to record body movements, imitate the human eye or transmit the experience of a work of art.

In his research, Demircan attests to the value of art and exhibition documentaries as an art form in its own right, not just as a practice. If used in a conventional way, the images resulting from exhibitions, inaugurations or performances can only offer an uncritical or one-sided view of history. Time Frame instead proposes alternatives, or contrasts, to the standardization processes that the documentary has had to undergo in recent decades, especially during its evolution from what was mainly a practice of cataloging to what today is increasingly becoming a form of social media advertising.