Road Sign Landscapes
Found framed landscape paintings, steel, placed in green mount west, Baltimore MD.
rawfunction
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.
Lance Wakeling
Vandalized Paintings
Parking at the Pentagon
A poster of Monet’s Garden at Giverny bleached by the sun.
Monet's Garden at Giverny
Piero Golia
Giraffe with no title but with a pedestal so high that it makes her head bump into the ceiling
Goran Škofić
Corpus
In the video installation consisting of ten video recordings, Goran Škofić treats his own body. Each video shows a multiplied figure of the author who in repeating rhythm performs just one action (workout in the gym, running, applauding in a concert hall…). In this way he realizes Baudrillard’s theoretical assumption of the simulacrum, enabled because of the possibility of electronic image’s mediation. He deconstructs the body into a naked “corpus” as he titled his work, liberating it of humanization, of bodily weaknesses like fatigue or mistake. Škofić’s character acts in the rhythm of incessantly repeating movements and has no
foothold either in the original or the truth.
Corpus / Set-up in Small Gallery from Goran Skofic on Vimeo.
Superflex
FOREIGNERS, PLEASE DON'T LEAVE US ALONE WITH THE DANES
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.
Flooded McDonald’s from Superflex on Vimeo.
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.
The Financial Crisis – trailer from Superflex on Vimeo.
Éric Duyckaerts
Kant
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.
How to draw a square – E. Duyckaerts
envoyé par leoscheer_tv. – Films courts et animations.
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.
La barre de Sheffer – E. Duyckaerts
envoyé par leoscheer_tv. – Regardez plus de courts métrages.
Rebecca Horn
Touching the walls with both hands simultaneously
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