maandag 31 januari 2011

Tatjana Doll

Tatjana Doll is best known for her large-scale paintings in which she employs a vocabulary assembled from images of life in the contemporary cities. Always figurative, and using recurrent motifs, her work can be broken down into several thematic groups: vehicles, containers, seats (stadiums, cinemas) and urban signage. Common places, easily recognizable, that think the visual repertoire of our contemporary society.

Her painting is clear and direct. Admittedly bi-dimensional, Doll moves away from a key characteristic in painting, illusion, to present canvas upon which a sole element is portrayed on a white background. This choice to employ pre-existing images is interrelated with the artist’s will to deny the originality drive. The immediate reading that the works make possible, allow Doll to empty the signs of their meaning allowing the artist to concentrate solely on the image itself. By not making the decision on the content, Doll limits her subjectivity to her intervention in the search for the most intense way to paint.




zondag 30 januari 2011

Melanie Gilligan - Popular Unrest (2010)

The film explores a world in which the self is reduced to physical biology, directly subject to the needs of capital. Hotels offer bed-warming servants with every room, people are fined for not preventing foreseeable illness, weight watching foods eat the digester from the inside and the unemployed repay their debt to society in physical energy. If on the one hand this suggests the complete domination of life by exchange value do the groupings offer a way out?
Popular Unrest



Popular Unrest * Episode One (13:43)
Push play or go to
* Episode One

* Episode Two
* Episode Three
* Episode Four
* Episode Five
go to:

zaterdag 29 januari 2011

The Bruce High Quality Foundation

Cameron Shaw : So what would you say is the specific intent of repositioning history? Edmund Burke and George Lucas didn't exist in the same place and time; what is the goal of connecting moments that originally didn't coexist?

The Bruce High Quality Foundation : Well they do coexist. That's the beginning. The way we were conceiving of empire is counter to what we saw illustrated in Thomas Cole's painting series, which shows empire following this very clear path. For Cole, there is this pure state, which for whatever reason becomes something glorious, and then has its downfall. That's not how it happens. It's not so much a repositioning of history; we're just trying to reflect how weird things really are. When there are moments of clear misinformation, those are generally used to make people be more conscious of the potential that it's all made up. They have a function so that you always know it has been written by someone somewhere.
artinamericamagazine 2009


public art and collaboration (07:01)
Push play or go to
(do go fullscreen)

The Bruce High Quality Foundation on YouTube.

vrijdag 28 januari 2011

Andrés Padilla Domene - Exhaust 2009

El trabajo de Andrés Padilla Domene aborda una serie de exploraciones en torno a los medios y sus límites. Desde esta perspectiva, las piezas proponen discutir las posibles contracciones y expansiones del medio como soporte del proceso creativo, mismo que se aproxima, con un comentario crítico, a ciertos paradigmas socioculturales contemporáneos tales como los discursos oficiales estereotipados y los mecanismos de consumo y control. A través de relaciones metafóricas, interactivas y transdisciplinarias, Padilla Domene conduce al espectador a participar de la reinvención simbólica del espacio y las distorsiones de la imagen a partir del emplazamiento dócil de los medios.

México DF 2009(05:56)
Push play or go to

donderdag 27 januari 2011

Jesse Wiedel

Jesse Wiedel's Artistic Statement: "In my narrative streetscapes, I take a variety of visual references and create a pastiche of fictionalized tableaus that are sad, coarse and degenerate. This invented world dramatizes the spectacle of street culture, where people aimlessly wander and interact in a state of somnambulistic rebellion. The weary structures and street signs that backdrop these individuals metaphorically mimic their isolation and subtle desperation. These sordid tales of public humiliation serve as an allegory for the ever-expanding malaise of the working class, in the grand narrative tradition of Hogarth, Goya, and Dix."


woensdag 26 januari 2011

Stefano Pasquini

"Life is complicated enough as it is, but I'm not making it any easier for you. I tend to question everything, from the parameters used in writing the history of art, to the validity of state laws, from the behaviour of police forces to the methods of the western way of life. This, together with a total indifference over which media to use, tends to result into an eclectic array of discarded material sculptures, liquid figurative paintings, ironically silly watercolors, utterly useless actions, diary snap-like photographs, hand sewn portrait flags, unrealizeable projects, a hyper-cynical ppodcast, Obsolete Shit and the odd good work."
Stefano Pasquini

One day laughing in this surreal earth 2008(09:54)
Push play or go to

The video shows a fictitious 24 hours performance, where the artist, in the middle of an unspecified field, is stuck into the earth with his hands and feet into the ground, and laughs continuously like a maniac.
Metaphorically, its a surreal reaction to many things that are surreal in this world, and yet they are real because they happen and involve a lot of people and suffering. If you think, for example, about the second Iraqi war, that was defined as preventive war.

Stefano Pasquini - UB0902 (Chins and Other Shit)

dinsdag 25 januari 2011

Annie Dorsen: Hello Hi There

Erik Piepenburg:
There are some pretty heavy philosophical questions being asking in this piece. What was on your mind?

Annie Dorsen:
I was interested in this question: Is there something universal or innate that is human nature, or are we programmed from our culture and environment? Chomsky, on the side of the innate, uses linguistic theory to say human children have an innate language capacity. This ability to communicate new thought with words is evidence that there is an innate human nature.

To test him a little bit I wanted to use chat bots. They also create new language, and therefore new thought. But they are not humans. They fail, like humans do. We lose track of words, use non-sequiturs, make all kinds of mistakes, just like the chat bots do in the piece. There are flashes of humanity in the machines.
Arts Beat

Performance Space 122


Hello Hi There (02:04)
Push play or go to
go fullscreen to view text.

maandag 24 januari 2011

Sarah Schoderer

Sarah Schoderer, die noch bei Christa Näher an der Städelschule studiert, hat ihren Weg derweil schon gefunden. Denn wie es ihr in ihren stets nass in nass und mit pastosem Farbauftrag gemalten Stillleben gelingt, nicht anders als banal zu nennenden Gegenständen - einer Zange etwa, einer leeren Flasche und einer Medikamentenpackung auf einem Regalbord - rein malerisch Präsenz und Bedeutung zu verleihen, wie sie in ihren Atelierinterieurs einen umgestürzten Stuhl, ein Kehrblech und eine Einkaufstüte im kargen, leeren Raum inszeniert, entzieht sich diese Malerei zwar vordergründigen konzeptuellen Zwängen. Zugleich aber macht sie keinerlei Aufhebens davon.
Porträts, Landschaften und Katastrophen - Christoph Schütte

Neuer Kunstverein Giessen

Höhere Wesen befahlen gar nix

zondag 23 januari 2011

Dennis Oppenheim (1938 - 2011)

Dennis Oppenheim died of liver cancer on January 22, 2011 .
Vitro Nasu

A pioneer of Earthworks in the late 1960s, Dennis Oppenheim has pursued an adventurous career in sculpture and installation, film and video, and body and performance art, but he never stopped making outdoor work. For the past ten years, Oppenheim has concentrated almost exclusively on public art
artforum 2009



The Norwegian documentary Bergensbanen details the gorgeous 300-mile, 7.5-hour-long train ride from Bergen to Oslo. An intrepid group of DJs have scored the entire journey, which traverses the frozen region of Finse (a.k.a. Hoth in The Empire Strikes Back).

Bergensbanen aired last year on Norway's NRK2. The documentary's creators encouraged artists to remix this footage of the Bergen Line, and DJs at the forums have scored the entire ride with a pulsing, 7.5-hours DJ mix. The result is hypnotizing. Just project this on a wall, and blammo — instant warehouse party.

(fullscreen possible, autoplay on all 13 parts.) (7:23:71)

zaterdag 22 januari 2011

Folke Koebberling & Martin Kaltwasser

Public space is under siege: pressure to consume, growing control and more and more traffic are threatening to change the picture of our cities dramatically. The couple Folke Köbberling and Martin Kaltwasser have been elaborating their idea of an artistic and architectonical aesthetics of resistance against this take-over since 1998.

They confront consumerist ideologies with alternatives: structural intervention, artistic statements, actions and theories. In doing so, the artists make use of streets, squares, bridges, parks and interiors as operational spaces. And the material they use is always obtained from urban resources: things that have been thrown away, garbage, donated things.
Goethe-Institut Prag


vrijdag 21 januari 2011

Mike Ellyson

As a young child, sculptor Michael Ellyson was diagnosed with both Tourette Syndrome and obsessive-compulsive disorder. Rather than defining him, Ellyson embraces his maladies in a quest to better understand both himself and the world around him, which is, after all, both the common goal and the common gift of all art. From kitschy collections of the common artifacts of childhood to weightier examinations of religion, the artist is forever wielding a mirror - first to himself, then to the outer world. Repeat ad infinitum.
Bemis Center for Contemporary Arts

Grizzly Grizzly

donderdag 20 januari 2011

Hannah Dougherty

Hannah Dougherty macht visuelle Kommunikation. Sie will, dass ihre Bilder gelesen werden und sie spielt dem Betrachter dabei eine Fülle von Bedeutungsmöglichkeiten zu. Je nachdem, für welche Gedanken man empfänglich ist, oder nachdem was man selbst mitbringt, erhalten die Bilder eine Bedeutung. Insofern sind es sehr zugängliche Werke.

Motivisch fand ich sehr viel Liebe und vielleicht so was wie ein hinterhältiges Kuschelbedürfnis in den Bildern. Es tummeln sich allerlei Tiere in den Kompositionen, die manchmal ein bisschen niedlich wirken. Es sind Haustiere, domestizierte Wesen, die doch nicht ganz ihre Wildheit und Natur verleugnen können. Das heißt sie sind gewissermaßen auch die Symbolfiguren, oder Spielfiguren, mit denen sich der Betrachter einen Sinn zusammenwürfelt. Wir Menschen, die wir ja selbst aus der Natur kommen, aber durch Kultur und Zivilisation in eine Abhängigkeit geraten sind, die uns den Rückschritt in die Natur nur noch imaginieren lässt, verbauen auch den Tieren ihr Naturwesen. Manchmal wirken die gezeigten Tiere darum etwas bedrohlich.



Royal College of Art

woensdag 19 januari 2011

Rebecca Lennon

Rebecca Lennon combines video, performance, sound and installation in an ongoing process of montage, reconstruction, displacement, intervention and reinterpretation. Relating the seemingly unrelated and drawing from the everyday, illogical and discarded things that often slip out of the landscape unnoticed, Lennon is interested in communication and by extension miscommunication - what is passed on, shared, exchanged - what is broken down, changed, lost. Dealing primarily with the search for meaning and synchronicity via (seemingly) illogical or irrational means, Lennon juxtaposes readily available materials with alien scenario's to create montage spaces and ritualistic constructions, drawing upon subjects as diverse as divided support groups for an urban underground tunnel, superstition, cargo cults and sleep-talking. Narratives and systems are created and merged, combining the found with the personal, the individual with the social and the real with the invented.
Ceri Hand Gallery

Slade School of Fine Art

Push play or go to

Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 2.5 License.