»Suspension« is a video constructed from a destroyed rescan of fashion magazine ads and a video self-portrait, is a meditation on the implicitly narcissistic nature of desire within a commodified context.


»Residual Light (still)« and »Drift (still)«. All videos by Anthony Discenza.


“A demand of composed of 140 pieces”, “Fear of 280 pieces” and “Difference composed of 1800 pieces for Error C-prints” by Gwon Osang.


»Peter Bonde«. A letter from Danh Vo’s painting professor at the Royal Danish Academy of Fine Arts.


»Exhibition At My Parents Home«. An e-mail to the american sculptor Robert Gobler concearning an exhibition that Danh Vo organised in 2005 at his parents home. For this occasion Danh Vo lend works from artists that have had an crucial impact on his understanding of art and life, amongst them artist such as AA Bronson, Elmgreen and Dragset, Felix Gonzales-Torres, Henrik Olesen…


In »The Rising Dog« (2003) a German shepherd, standing beside the driver, is riding in a white Mercedes. The dog rises through an opening in the car up to the top of the roof. After a little while the dog disappears back in the car.


In »The Doves« (2002) three white doves are sitting on a traffic light. With every colour appearing on the traffic light a pair of doves- eyes starts glowing powerfully in the same colour, looking down to the drivers.


In »Saladfield as big as a sky-scraper building« (2001) 10.000 lettuces were grown right beside a sky scraper building, on a 1200m²- field as big as the frontal fasçade. After a growing period of 5 weeks the salad heads were ready for harvest. They were given to the local inhabitants during a one week harvest period. Both projects by Helmut Dick.

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“Cannibal”, “The House” and


“Proposal for the Facades of the Trade Union Square” by Jannis Varelas.


Sculptures and

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video “Battery” by Matt Calderwood.

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»Reverse Ready Made« and


»Boardroom« by Dana Hoey.


»on-going-going on- autographs of the initiators«. On April 25th 2005 Maurice Bogaert had his parents autographs tattooed on his feet, on the left foot his mothers and on the right foot his fathers.

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»Believe« (Levitation in the Studio) 2002 and »Untitled« (Vulture in the Studio) 2002 are two of three videos taking place in João Onofre’s Lisbon studio. »Believe« pits the eternal power of magic against technology by inviting a traditional magician couple to perform a levitation in the artist’s studio. In (Vulture in the Studio) the wild animal climbs onto the tables mounted on easels that enclose the studio space, nibbling on the sheets of paper pinned to the wall as well as the books and catalogues arranged on shelves, and tries to take flight.

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In the third video »Catriona Shaw sings “Baldessari sings Lewitt” re-edit, “Like a Virgin”« 2003, a passable vocalist interprets Madonna’s famous song Like a Virgin, but with altered lyrics: excerpts from Sol Le Witt’s “Sentences on Conceptual Art” 1969, which had already been sung by John Baldessari in 1978. Accompanying the video is an extended version original video soundtrack was released. Vinyl record, edition of 20 pieces.


»Instrumental Version« 2001, features the Chamber Choir of Lisbon, performing an acappella version of “The Robots,” an old electronic favorite from Kraftwerk’s 1978 album Man Machine. Vinyl record, edition of 20 pieces. All works by João Onofre.


Ray Rayner.


»Storage Piece« from 2006 by Haegue Yang. Steming from the situation of absolute lack of storage space, various previous works are transported and stalked in a pile on the wooden palette in order to fullfill another exhibition.

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Aaaah!” and


“L’Hospice” by Gilles Barbier.


»copy / past / time shift« from 2006 by Wouter Huis. Video footage recorded in the afternoon is projected on the same surface at night.


Neverland“. Michael Jackson’s eyes from his “Live from the Neverland Ranch” broadcast 1993.

Nostalgia is Fear“. An artificial snow machine randomly activates with or without the viewer standing in the headlights of the car. Works by Jordan Wolfson.


Min 100 jaar (2003), Zon (2006) and Contact (I) (2003) by Toine Klaassen.


In the intervention »Trial-Living in Slubfurt«, the loggia at the Place of Heroes in Slubfurt* is directed westward. Folding-stools, table and grill-ton are ready to use. Interested parties are given a key to gain access to the loggia nearby the monument against Fascism. The walls are painted in the prefered colour of the temporary user (*Slubfurt is an artificial word, a combination of Slub(ice, Poland) and (Frank)furt at the river Oder).


In the intervention »Pulheim Castling« two square areas (5×5 meters) are selected. One is located in front of the Pulheim high school. The other is located in front of the abbey in the district of Brauweiler, a distance of 5 kilometres. With the help of a professional archaeologist the sites are measured, meticulously documented and then their locations are exchanged. Road surfacing, grass, asphalt, bicycle stands, a piece of fence and garbage bins change location. The cobblestones and their white marking lines are clasped in a steel girder for transport. They are carefully re-aligned in their new location.


The portable park bench »TRASBA« was designed with two configurations in mind. In it’s furniture-configuration the TRASBA provides seating space for up to 6 persons. In it’s mobile configuration it rests on the shoulders of one strong carrier-person. It can be moved effortlessly over several kilometres. All projects by Christian Hasucha.


Conatus (pilote) is a new attempt to organize chaos, to unite heterogeneity and to resuscitate the inert forms. By Boris Achour.

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»Oahu« is a wooden wave island placed in front of the water-castle Villa Concordia in Bamberg/Germany.


»Jungle & House«.

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The installation »Holiday On Ice« is based on a classic ice skating rink built inside a penitentiary in Erbach/Germany, in which the inmates were invited to participate in an icehockey tournament. By Gregor Passens.


»The Pump of Anxiety« and »Misery and Happiness« taken from Rev. Luke Murphy’s »PowerPoint Art, Graphs and Relations: The Anxiety Graphs«. The graphs present a picture of unification and provide a home for free-floating anxiety by joining thought and feeling along sets of reputedly indisputable axes.

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»Attributing Value (Refractions)« is an ongoing video series documenting various artist’s works. The works are environmentalized and refracted through the structural data of artist Damon Zucconi himself. Sofar completed are Bruce Nauman: 100 Live, 100 Die; Carsten Nicolai: Syn_Chron; Pierre Huyghe: L’Expedition scintillante; Richard Serra: Torqued Ellipse VI; 0100101110101101.org: jodi.org “%20Transfer”.


»Zenith Alignments«. Using star tracking software, minor zenith alignments with celestial bodies were found to occur at multiple intervals throughout the course of the day over various locations. These precise locations were located via GPS. 3-point areas were located at sites of the zenith alignments. These areas were highlighted and clearings were made to coincide with the alignments. So at the moment of the alignment Damon Zucconi would be exposing the ground and aligning himself with the line that extends to the star. These specific alignments were unique to these specific locations, occurring once an annual cycle. This could largely be seen as the process of integrating himself with 90 degree angles, in turn, demarcating larger phenomenological alignments and relations: “the body mapped onto the land onto the heavens above.”


»’At’ Asserting its Object Status«. Found sculpture.


»2d Orthogonal Line Drawing«. Drawing with laser and mirrors. All projects by Damon Zucconi.

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