Measuring your tracking location - where have you been? Cut paper on panels, 72 in x 72 in. This piece is in the art fair at ArtMRKT in San Francisco this weekend, May 18/19.
“Minimum Monument” by brazilian artist Néle Azevedo, presented as part of the Festival of Queen’s in Belfast, Northern Ireland
Sonja Vordermaier, Return (of the man who flew into space from his apartment) bicycle inner tubes, tension and firing mechanism, car-seat and film-projection approx. 30 m x 15 m, (98 ft x 49 ft), K3 at Kampnagel Culture Factory, Hamburg, Germany, 2004
Vue de l’exposition de Bernard Aubertin, programme des interventions sur le bâtiment, dans le cadre de la saison “Imaginez l’Imaginaire”, 28.09.12 - 30.09.13, Palais de Tokyo, Paris. Bernard Aubertin, Tableau feu, 2012, performance du 27.09.12, © ADAGP, Paris 2012. Photo : Didier Plowy. (via Bernard Aubertin | Palais de Tokyo, centre d’art contemporain)
La Jetée - Chris Marker, 1962
La Passion de Jeanne d’Arc - Carl Theodor Dreyer, 1928
Painted Pulp Papier by Sandra Chevrier
Sandra’s process begins with beautifully evocative female portraits, which she then smothers with torn out comic books pages, the penetratingly deep gaze of her make-believe models forever bound and silenced by the iconic fantasy heroes meant to empower them.
Playa by Ruben Dhers
Sound installation features 14 guitars with hanging computer-controlled fans - the result is beautiful ambient music - video below:
14 acoustic guitars, 31 dc motors, 300 m cable, fabric and computer.
Neues Museum Weimar, Alemania
Paintings by Mary Iverson
David Maisel - Library of Dust (2008)
“In 1913, the Oregon State Insane Asylum began to cremate the remains of unclaimed patients and their ashes were stored in copper canisters.
After decades in storage the canisters have undergone chemical reactions resulting in explosions of vivid blue-green corrosion. Maisel was granted access to the room in which the canisters were stored to document them for his book.”
“Among my concerns with Library of Dust are the crises of representation that derive from attempts to index or archive the evidence of trauma; the uncanny ability of objects to portray such trauma; and the revelatory possibilities inherent in images of such traumatic disturbances.
While there are certainly physical and chemical explanations for the ways these canisters have transformed over time, the canisters also encourage us to consider what happens to our own bodies when we die, and to the souls that occupy them.”
“Somehow the image begins to have a sort of memory in it, even if you can’t see it. It can build up a dense feeling toward the end, and then it makes me happier.”
Vija Celmins, our current 100 Artists featured artist, is shown here at work in her Manhattan studio in 2003. This scene is featured in the Art in the Twenty-First Century Season 2 episode, Time (2003).
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