“Reenactment of Chris Burden’s Shoot” from the series “Synthetic Performance in Second Life” by Eva and Franco Mattes aka 0100101110101101.ORG. See also “Shoot” by Chris Burden.
»Stock Exchange«, 2006, takes the form of a video ‘letter’ written to the footage acquisitions department at Artbeats Software, Inc., a company whose main business is to provide high quality and royalty-free film and video clips for commercial clients. The artist theorizes how the company might go about accepting (or not accepting) footage shot by freelance videographers, eventually asking Artbeats to define their selection criteria. The response, during which a representative of the company lists a set of ‘shooting tips and guidelines’ is juxtaposed with actual clips from the Artbeats catalog. The work as a whole seeks to meditate on the construction of visual meaning in today’s very fluid (and increasingly template-driven) image economy.
»i (towards a reconciliation with technoromanticism)«, 2004, is an inquiry into modes of escapist representation within leisure and entertainment technology. Apple’s iTunes software was modified using Apple’s own plug-in architecture, originally built to allow non-affiliated programmers an opportunity to come up with their own algorithms for the ‘Visualizer’ component of iTunes. In this case the original Visualizer engine was swapped out, not for another synced color/shape generating algorithm, but for a looped video of the artist creating light patterns with common sparklers. The piece was shown orginally on a laptop computer playing seminal classics by Kratfwerk, but any music can be played. By Nate Harrison.
“Grip” – video for the band zZz by Xelor (Roel Wouters) and
“The Argyle Pullover” by Poly-Xelor (collaboration with Luna Maurer).
“Ruurlo, Bocurloscheweg, 1910″ by David Claerbout. The video is based on a postcard of Ruurlo from the year 1910.
»Symbols 1« and »Symbols 2«, 2006. From the series »Tresholds And Gaps«.
»On-Site-Art, Schulhaus Bachtobel Zuerich«, 2002. by Istvan Balogh.
»Fascia«. The structure of the apparatus gradually takes control over the face, pulling and stretching the skin, eyelids and lips into controlled/mechanized grimaces.
»Public Sauna«. For Pia Lindman an artist born and raised in Finland, public sauna bathing is a significant part of her identity. In the United States, issues of nudity prevent an experience of a Finnish sauna event both socially and physically. To further negotiate this cultural disjunction, she designed and built »Public Sauna« in the court yard of P.S.1. and kept it open for the public to bathe. During the year of 2000, approximately one thousand visitors at P.S.1. used the sauna.
»New York Times Performances«. Having collected images of mourners from the New York Times for one year, Pia Lindman took the bodily gestures of the mourners out of the news context and made drawings/diagrams. These images ranged from the aftermath of the World Trade Center, terrorist attacks in Israel, funerals of Palestinians, Chechnyans, to Russians. Using these drawings as her instructions she re-enacted the gestures in front of a video camera in her studio without revealing their original context. Later she moved into the public space and performed the re-enactments live. The locations have varied from Rachel Whiteread’s Holocaust Memorial on Judenplatz in Vienna, Battery Park New York, Mexico City…
»Tiger Stealth« by Peter Sandbichler and Knowbotic Research is a re-engeneering and re-enactment of a stealthboat as shown in a Tamil Tiger propaganda video footage. The Tamil Tiger video footage was found on internet sites of private analysts of clandestine weapon systems. The boat, as supposedly financed by North Korea, shows the heroization of an attack boat patrolling river banks. The reconstructed boat was built using radar absorbing materials and powered by a simple electric motor. It succeeded in escaping radars as the stealth archetype.
“Tree hang one”, “Pinecone”, “Legline”, “Leap into the yard” and “Dirt roll one” by Keith Boadwee.
Urban Exercise On Formation. This work by Sabine Bitter and Helmut Weber is based on the pictorial content of a photographic glass plate negative of the 1950s, multiplied by computer and arranged in “formations”. It speaks of the need to study and understand the formations of the external world and the need to abolish the myth of the “community of inner selves”.
In the work Connecting, Victoria Skogsberg recreates a popular ‘psi’ experiment that tests the possibility of receiving messages from the subconscious. In the ‘real’ experiment the ‘receiver’ is situated in a sound proof room, seated on a comfortable reclining chair wearing headphones and large black glasses. White noise is played continually through the headphones and the glasses, equipped with stroboscopic lights, are programmed to emit red flashes into the eyes which allow the body to relax. Skogsberg’s re-creation contains similar props to the real experiment but takes place in what seems like a domestic environment excluding the apparatus and technical equipment we would assume to belong in such a place. Her image suggests that with the right state of mind and a few simple tools it may be possible for anyone to connect to a higher realm.
»Knickknack Peddler« by Wang Qingsong.
»Packman« by Li Song, dated to the Song Dynasty.
Further photo work of Wang Qingsong.
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