The Complete History of Postcontemporary Art I
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.
Keren Cytter
Untitled
Untitled
Untitled
Somewhere between cinema-vérité and sitcom, home movie and reality TV, filmed performance and auteur film, Keren Cytter offers us a succession of scenes where reality seems to be constantly at loggerheads with fiction.
From the angle of this conflict – a conflict which thus representers others – everything is fair game, and each one of the parameters inherent to the execution of these works – from scenario and script to editing, by way of the filming itself and the actors’ performances – is entirely devised and introduced in a logic of tension, matched only by the heightening of the feelings at issue.
(…)
For her show at Le Plateau, Kerem Cytter juggles with the architecture of the place like a logical extension of what the structure of her films represents: loop and repetition effects are combined with duplications of spaces and artificial symmetries.
Stéphane Bérard
Costume avec lequel on peut sortir en pantoufles
Homme et femme, charentaises, laines, mannequins
Co production Cairn & Frac paca 2003, domaine de Pommery 2005
Tentative de participation aux Jeux Olympiques d’Hiver 1998, à Nagano (Japon), sous les couleurs de la République Gabonaise 1997
Dalibor Martinis
Parken Verboten
The work is site specific, the content and the medium are created taking into account the specific spatial and social context of Rosenheim. Binary code of the message was “written” by parking new, black and silver cars (VW Golfs) into the approx. 100 m long row along the main city square. Drivers one after the other drove the cars into the square so, that something which at the beginning looked as two or three wrongly parked cars grew into the huge parking lot. The cars of two different colours were arranged so that finally the text of a coded message was written along the square. Although probably no one of the passers-by could read it the message attracted great, if not always positive, interest. The whole action-performance of parking cars has been documented on video.
(*VHS video)
Artists on Strike, 1977
Variable Risk Landscape
On January 2, 2004 Dalibor Martinis put a sum of money equivalent to 365 shares into the ZB Trend Investment Fund. Since on this day the price of one share in the ZB Trend was 102.22 euros, the amount invested equals 37,310.3 euros. The money was invested with an investment term of one year, i.e., 365 days, and constitutes the funds of the Man Foundation.
The ZB Trend Investment Fund is managed by ZB Invest, the Zagrebacka banka owned company for the management of investment funds. Zagrebacka banka d.d. carries out deposit bank operations for the funds of ZB Invest. PricewaterhouseCoopers d.o.o. has been appointed auditor of the investment funds managed by ZB Invest.
While the project is in progress, the artist/investor will go once a month up into the hills to hike the amplitudes that are shown by the worth of the investment for the current month. The appropriate altitudes will be measured with an altimeter. Thus the artist/investor will experience the changes in the value of his investment both financially and physically, and through movement in the natural landscape will reproduce the landscape of variable financial risk (the rise of the curve of the graph representing financial gain but at the same time physical loss, i.e., the additional physical effort, while fall in the value of the investment will entail a financial loss, but a physical gain, i.e., rest)
A Web site has been opened up to follow the course of the project in the physical and financial landscape with constantly updated information about the current worth of the investment and other financial indicators, such as changes in exchange rates and so on. An online computer and LCD monitor have been set up in the Museum of Contemporary Art in Zagreb. The artist/investor will display project documentation in the context of artistic exhibitions and events.
At the end of the year the difference in the value of the investment 365 days after the investment will be determined, i.e., any profit there might be per share. Photographic and video documentation of the whole project will be on display. A large wall calendar for the past year, 2004, will be issued, which will monitor the artist’s perambulations in the hills (photographic documentation), and the movement of the value of the shares in the investment fund. Zagreb’s Museum of Contemporary Art will mount the event of the closure of the project, in which the residue of the whole annual profit after the costs of the project have been met will be spent by the division of the sum among all the spectators present at the closing event (the amount of the profit to be divided by the number of those attending). If the project makes a loss (either because of the unexpected fall in the value of the shares or because of costs higher than those planned), this will be debited to the artist/investor.
The selling price of the work Variable Risk Landscape by Dalibor Martinis corresponds to the value in euros of 365 shares in the ZB investment fund on the day of the sale.
The Man Foundation will seek additional resources for the Variable Risk Landscape and encourage donations and sponsorships. The Man Foundation will keep books and cover the costs of the project. All security is provided by the founder. The Man is totally dedicated to matters concerning the Variable Risk Landscape Project and will carry out no kind of transactions apart from these. After the closure of the project, the Man Foundation will go out of business.
Greg Stimac
Mowing the Lawn. Chandler, Arizona, 2006
Mowing the Lawn. Oak Lawn, Illinois, 2006
Mowing the Lawn. Carsbad, New Mexico, 2006
Rainer Gamsjäger
Trifter Serie (VIDEO 2007, 720p HD, 8:27 min)
A slow pan along a forest that breaks off at a small terrace in the foreground of the picture: Slender conifers stretch upwards over cut and fallen trunks, dead branches and roots, churned soil and dry grass, and parade past one another, structuring the space to impenetrable depths. The apparent naturalism does not hold up for long. Something is not quite right with this picture, this movement. In the background the trunks begin to stretch out horizontally. Has the image been digitally altered? Have artificial effects been applied to the idyllic scene? Not at all. Instead, the image as a whole turns out to be artificial, its realism the result of elaborate reconstruction. TRIFTER 1 strains at the synapses. Training for the digital. (Thomas Korschil)
gelitin
Hase / Rabbit / Coniglio, Artesina, Piemont, Italy, 2005
The things one finds wandering in a landscape: familiar things and utterly unknown, like a flower one has never seen before, or, as Columbus discovered, an inexplicable continent;
and then, behind a hill, as if knitted by giant grandmothers, lies this vast rabbit, to make you feel as small as a daisy.
The toilet-paper-pink creature lies on its back: a rabbit-mountain like Gulliver in Lilliput. Happy you feel as you climb up along its ears, almost falling into its cavernous mouth, to the belly-summit and look out over the pink woolen landscape of the rabbitÌs body, a country dropped from the sky;
ears and limbs sneaking into the distance; from its side flowing heart, liver and intestines.
Happily in love you step down the decaying corpse, through the wound, now small like a maggot, over woolen kidney and bowel.
Happy you leave like the larva that gets its wings from an innocent carcass at the roadside.
Such is the happiness which made this rabbit.
i love the rabbit the rabbit loves me.
After almost 5 years of knitting the rabbit found its final place in the italian alps (close to Cuneo). It waits there to be visited by you. You might even take your time or check back every now and then as the rabbit will wait for you 20 years from now on.
View Larger Map
