We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art. ok john, let'go discover something different.
Chris Burden has created this piece Metropolis II, a kinetic sculpture consisting of 1200 Hot Wheels cars.
During summer 2006, Thomas Mailaender invited Benoit Dutherage, twice vice-world champion of sand sculpture, to spend one week with him on a beach.
Thank pietmondriaan ;)
Beach with a banner that reads: “Death is the only certainty in life”.
The original phrase intended for the project read: “We are all going to die”. Nevertheless the Federal Aviation Administration decided to censor the project due to the alarm such a phrase could create amongst the population.
A series of phrases related to the awareness of death and life were sent to the airline for the approval of the FAA. “Death is the only certainty in life” was allowed. Its shorter version: “Death is the only certainty” was not allowed.
Flooded McDonald’s is a film work by Superflex in which a convincing life-size replica of the interior of a McDonald’s burger bar, without any customers or staff present, gradually floods with water. Furniture is lifted up by the water, trays of food and drinks start to float around, electrics short circuit and eventually the space becomes completely submerged.
The Financial Crisis (Session I-V) is a new film work in which SUPERFLEX address the financial crisis and meltdown from a therapeutic perspective. A hypnotist guides us through our worst nightmares to reveal the crisis without as the psychosis within. During 4 sessions you will experience the fascination of speculation and power, too fear, anxiety and frustration of loosing control, economic loss and personal disaster.
This installation consists of a five and a half minute video and ten pictures. In this video, I put myself into the skin of a vague coarse rapper who unfurls over the name of the great German philosopher a string of thoroughly out-of-place insults in French and English (out-of-place, that is, in the philosophical debate). This crazy displacement is the comic mainspring of the video. The pictures play on a different chord: they borrow images coming from the video, in the upper half, and words of German
vocabulary in the lower. The link is the same as in Masse sur comptable. The upper images are focused on the red shoes of the phoney rapper. The blur of the moving image is rendered by keeping the texture of the video image and the aerial character of the shots. The letters detached from the wording in the bottom part have the weight of things that cannot be counted.
They refer to the absurdity of the insults associated with the name of a philosopher.
A mini video-lecture. Great to speak an English which has an accent vaguely identified as hailing from Central Europe or India. (The piece was designed for an invitation to the Tate Gallery in London). The video is projected on to a large paper-board, and the demonstration is declined on an identical paper-board. Plenty of ways of drawing a square, doubtless. These ways are so spontaneous for us–here I’m thinking of quick sketches rather than Descartes–that they remain unanalysed. They also remain unanalysed in my video, but are enhanced by an approach to the way of drawing a square by computer. In the quick sketch, the body has to find a way of mimicking its object; with the computer, on the other hand, the body just has to make a diagonal movement with the mouse. A movement that does not mimic anything of its object. This movement is supposedly the same for drawing a rectangle, a circle, an ellipse. Does the practice of the computer for drawing shapes like the ones I’ve just mentioned change something in our brain? I don’t have a clue and, what’s more, I don’t give a damn. The important thing is to make what is obvious at once funny and problematic.
Projet d’intervention dans l’espace public sur le territoire de la Cité Universitaire Internationale de Paris dans le cadre du programme SMART CITY. Pied la Biche choisit de s’intéresser à la station de RER B : Cité Universitaire. Une approche mixte entre documentaire, fiction, performance et vidéo scientifique s’ébauche.
“Refait” is a remake of the football WorldCup match between France and Germany (Seville, Spain, 1982). Shot by Pied La Biche in Villeurbanne (France), every aspect of the fifteen last minutes of the match was carefully reconstructed : players, positions, gestures, intensity, drama etc. It consists in shifting the traditional game area into the urban environment. Each sequence takes place in one or several locations and then the city temporarily becomes the lab for unsual experiments.
The soundtrack is made up of the original commentaries mixed with interviews of the audience recorded during the shooting.
Abramovic, who is seated in the atrium for the duration of the exhibition, invites visitors to sit silently with her “the artist”, resulting in a dramatically lit public stare-off.
Video documentation, 8 min 26 sec, 2009
A 3 by 5 meters advertising billboard promoting the two of us is placed deep in the woods in north Wales. The billboard is placed in a spot where it can hardly be seen, like a tree falling in a forest with no one around to hear it fall. Placed in a surrounding where it is likely not to be seen by anyone evokes questions to its purpose of being there.
Additionally, use of an appropriated advertising line ‘Nika Oblak & Primoz Novak – recommended by curators worldwide’ is a self ironic reference to marketing contemporary artists as brands.
Going South is a fictional documentary based on an actual Guinness World Record. It presents stages of a fake, fabricated story about how the two of us achieve a world record by pushing wheelbarrows from Ljubljana to Sharjah for 14.500 km in 3 years and 12 days.
The fictional documentary is a continuum of our exploration of media and capital driven society, exposing the media spectacle, and obsession with success and fame. It addresses the issues of global warming and environmental problems, however in a context of cliché media representations. The fictional documentary intrigues the viewer to deal with his/her relation to the general perception of information, which is being conveyed to us by the media on daily basis.
Structure d’accueil pour deux chèvres
Les chèvres ont vécu trois mois dans la sculpture. L’artiste a organisé des visites de Los Angeles et des environs (Malibu, le parc national de Joshua Tree, différents quartiers de Los Angeles, etc.) pour les deux animaux. L’idée était d’accueilir un élément incontrôlable au sein d’une oeuvre d’art et le choix s’est porté sur les chèvres, animaux à psychologie singulière, qui cherchent toujours à surplomber leur environnement et à s’échapper.
What does it mean to listen to someone else’s ears? Can two people experience the same space at the same time? I want to slip between your ears and allow you to slip between mine.
Body, Environment, Food, Plastic, Audio Recording, Video Recording, Hair, Nails, Urine/Feces, Sweat, Breath
What is the body? How does it act as a volume of flux?
Inputs: air, food, drink, information (light, sound, smell, touch, taste, etc.), etc.
Outputs: breath, sweat, urine, feces, information, hairs, nails, skin, etc.
Donning the Void
Vacuum, Polycarbonate, Body, Fabric
The Vacuum Cuff allows the wearer to wrap themselves in vacuum as they move through their day, bringing empty space to the realm of the everyday/commonplace.