Mahlzeit! Neue Arbeit von Narcelio Grud. Erinnert an die “Wild Berries” von Markus Butkereit.
6. 5. 2013
2
Pablo Chiereghin: “Bank Club”
Krise? Banken als Buhmänner? Für den italienischen Künstler Pablo Chiereghin sind Bankfilialen vor allem perfekte Partylocations: “I do not know where my money is now and how it is invested but I am having fun in the bank. Using their bank cards people get access to the entrance room of some banks and have a party there. This party-project is a copyleft instruction to hedonistically protest against bank policy and their role in our daily life.” Via: Mail
14. 4. 2013
1
UNTEL, 1975-1980
“Everyday Life”, 2013: Department Store-like environment, 6 months of «current events» in Paris (January–June 1977). The themes treated are housing, expulsions, the police, banks, unemployment, sex, cafés and bars, cultural sites, radio and television, the written press, public gardens, trips, the Metro, urban detritusthe, elections campaigns, inauguration of Beaubourg (the Pompidou Centre), interviews…, 1600 objects displayed on wood metal and plexiglass stands, silkscreened prints, photographs, packaging «blisters», adhesives, stamps, plastifications, sound track.
Blinkers”, 1972: Plywood painted in black, 4×21 cm. Performance “Registre des utopies”, intervention in the metro and the streets of Paris, 1972–1978
“Informations stop, 1974: A pair of spectacles, ear muffs, distribution of tracts (1000 standard format: 21×29,7 cm, examples from different daily newspapers, rubber stamped). Performance “Registre des utopies”, intervention in the streets of Paris, 1974-1975
“Happiness for you, what is it?, 1975: Streamer, questionnaire. Performance «Registre des utopies» with the Mike Westbrook Brass Band, intervention in the streets in the city-centre of Bordeaux, exhibition Sigma 11, Bordeaux.”
“End, 1975: Plywood, painted text, textile straps and metallic buckles 130x50x3,5 cm, distribution of tracts (29,7×21 cm) with stamped impression of the word “FIN”. Performance (sandwich-man) «Registre des utopies», intervention in the streets in the city-centre of Bordeaux, exhibition Sigma 11, Bordeaux.”
“The Irreversible, 1978: Inscription of the word in the landscape, 30 tons of white stones, 19×100 m. Auzole (Le Causse), exhibition Nationale 20, Cahors. Fatality Inscription of the word in the landscape with a brush cutter, 10×70 m. Auzole (Le Causse), exhibition Nationale 20, Cahors.”
“Tourist, 1978: Housepainter’s outfits and silkscreened T-shirts, cameras, badges and adhesives. «Clichés» projected simultaneously, intervention in the streets of the city-centre of Cahors, exhibition Nationale 20, Cahors.”
“Le déjeuner sur l’herbe”, Grand Palais, Paris 1975
Heute erst entdeckt: Die französische Künstlergruppe UNTEL, die von 1975-1980 zahlreiche Performances, Aktionen und Interventionen im öffentlichen Raum durchführte. Zu dem Trio gehörte Jean-Paul Albinet, Philippe Cazal und Alain Snyers (der 1978 die Gruppe verlässt und dessen Platz Wilfrid Rouff einnimmt). Das Museum für zeitgenössische Kunst in Straßburg stellt gerade deren Installation “Vie quotidienne” aus – eine Art verpackte Momentaufnahme des urbanen Alltags aus dem Jahr 1977, im Stil eines Supermarktes. Man kann dort lange zwischen in Plastik abgepackter Erde aus öffentlichen Parks, Jobangebote, Zeitungsartikel, Fotografien und Postkarten herumstöbern und dies alles wird natürlich auch mit authentischen Straßengeräuschen untermalt. Leider gibt es nur eine (vergriffene) Publikation der Gruppe: Publikation.
14. 4. 2013
1
Fayçal Baghriche: “Point ligne particules”
Fayçal Baghriche: “Point ligne particules”, 2010: The video “Point, ligne, particules” shows a performance in which the artist revisits the principles of formal composition, outlined by Wassily Kandinsky in his work entitled “Point and Line to Plane” (1926). In this book Kandinsky defines the line as the result of a combination of: a point in movement and the expression of the force of an action. Fayçal Baghriche illustrates Kandinsky’s concept by choosing a train as a surface. Via
14. 4. 2013
1
SZPILMAN AWARD 2013: Jetzt mitmachen / Apply now!
Der beste Award der Welt geht in die nächste Runde, wer nicht mitmacht, ist selber schuld: “The SZPILMAN AWARD is awarded to works that exist only for a moment or a short period of time. The purpose of the award is to promote such works whose forms consist of ephemeral situations. Everyone can apply. Worldwide! There is no participation fee. Closing date: September 30, 2013 (postmark). The prize winner receives the Jackpot Stipendium. This scholarship consists of three parts: A challenge cup, 10 days of accommodation in Cimochowizna (Poland) including journey, and a sum of money in cash. The amount of money is dynamic. SZPILMAN is raising money parallel to the competition. The prize winner receives the money that is raised until September 30, 2013. The current score may be checked here. For all informations and the application form click www.award.szpilman.de and: Apply Now!”
14. 4. 2013
6
Fra.Biancoshock: “The Cleaner”
“The Cleaner” von Fra.Biancoshock – der passende Anlass um noch einmal an die wunderbaren “Graffiti”-Cleaning-Videos zu erinnern: “Cleaning Unit Stockholm” (2009), “Magic Colorz Berlin” (2008), “Invisible Wholecar Kopenhagen” (2008) und “Style Wash Leipzig” (2007). Via: Mail
27. 2. 2013
2
Update: Brad Downey
“Every Path Has It’s Puddle”, 2012, in collaboration with Thomas Bratzke
“Bike and Sidewalk”, 2012
“Portrait Of My Father”, 2012
“Wehrmann with Magnets”, 2011
Tire Stack, 2011, in collaboration with Akay
“The Mess”, 2011, in collaboration with Akay
“Meat Street”, 2011
“This is How We Roll”, 2011, in collaboration with Akay
“Chalk Mark (hopscotch)”, 2010
Brad Downey hat endlich (wieder) eine Webseite – man könnte Stunden dort stöbern! Außerdem gibt´s eine neue Einzelausstellung: “The Floor, The Table and The Wall” (3. März bis 1. April) im Kulturzentrum Marstall am Schloss Ahrensburg.
27. 2. 2013
0
Watchlist: Jeroen Eisinga
“Springtime”, 2010-2011: “I was covered with 150000 bees and I was stung thirty times. I did not feel any pain. Except towards the end when I was stung in my eyelids. I felt resistance up to a certain moment, but after a while I let it go and surrendered to the experience. I think I must have entered a state of trance at some point. I started to feel completely empty inside and entered a state of complete freedom. Towards the end I only heard the beating of my heart and my own breathing.”
“40-44-PG”, 1993: “The Volkswagen Beetle in this film belonged to my twin brother Bart. The license plate is the title of the film. The location is our hometown Waspik, a small village in the South of the Netherlands. We used to drive around in this car for many years, and during our year of shared unemployment we occasionally did this stunt to spice up our long days. It was our own version of train surfing or Russian roulette. The car drove around in circles with no driver in it. The wheel was tied with a rope and there was a brick on the pedal. One of us would walk around blindfolded, trying to dodge the car and trying not to get run over. The other one would watch and cheer; ‘to the left’; or ‘to the right’; ‘move on’, or ‘watch out!’ I decided to reenact this pastime or rite of passage. In this performance I did the walking and Bart filmed it, enabling me to see what I could not see with my own eyes.”
Jeroen Eisinga “(1966, Delft, Netherlands) is a visual artist and was educated at the art academy in Arnhem, the Rijksakademie in Amsterdam and in scriptwriting at the American Film Institute Conservatory in Los Angeles. He lives and works in Rotterdam. He has made several short and experimental films. In his work, Eisinga has been inspired by artists like Bas Jan Ader and Chris Burden.”
25. 2. 2013
0
Und sonst so? : 25. 2. 2013
Bieber als Hack-Skulptur. Thx, Vlad!
* Der Kunstbetrieb hat ein Naziproblem: “Der Kunstbetrieb in Deutschland scheint vor Ehrfurcht ergriffen, wenn es um die Behandlung der rechten Ideologie geht. Nämlich Ideologie in Form der künstlerischen Darstellung ihrer Träger, der Nazis selber. Wir sind nach wie vor der Ansicht, ein erfolgreicher Kampf gegen Nazis braucht auch die direkte Konfrontation mit Naziideologie. So zu tun, als wären Nazis nur hirnvermummte Irre, die dank Ihrer auratischen Wirkung jeden schwachen Geist sofort in ihren mystischen Bann ziehen, ist ein billige, bürgerliche Ausrede und spielt Nazis von vorn bis hinten in die Hände.” Via, Mail, thx!
* Harlem Shake For Website: Rebel:Shaker
* It´s time to Gif Partay!
* The Big Internet Museum: “Explore an interactive and ever-growing collection about the Internet and its remarkable graphic interface: the World Wide Web.”
* Logos! Ich seh überall nur noch Logos: logohallucination.com
* “In the Belly of a whale“: Doku über die Berliner Kunstszene von Editude Pictures. Via
* WTF: Grinseball für Hunde
25. 2. 2013
0
Watchlist: Erik Wesselo
“Düffels Möll”, 1997
“Burning Up”, 1998
Wow, gerade erst entdeckt. “Düffels Möll” ist eine atemberaubende Performance des niederländischen Konzeptkünstlers Erik Wesselo. Auch sehr schön: Für das Video “Backwards” (1996) reitet er rückwärts durch den Wald und für “Burning Up” (1998) zündet er seine Haare an. “Erik Wesselo (1964, ‘s Hertogenbosch) is a conceptual Dutch artist whose work encompasses performances, videos, photographs and drawings. He earned early recognition with his bold performances, which involved setting his own hair on fire and getting the words “LOVE” tattooed on his hand. Comparably bold, if less in a physical way, he performed a public karaoke to his favorite songs. The video Düffels Möll, 1997 shows the artist attached to the turning wing of a typical Dutch windmill.”
