donderdag 30 juni 2011

Marina Abramovic - Balkan Erotic Epic 2005


Marina Abramovic:
"I just wanted to do something different. I went to the former Yugoslavia—I was interested in the roots of the culture, which has a lot of pagan elements, and the idea of the “erotic.” How we see “erotic” today is so limited; we think erotic equals pornography. The woman with her breasts exposed is a kind of erotic that’s very vulgar, very predictable, and we are fed by these very standard images. In Balkan culture, the sexual organs, male and female, were used as tools for taking evil away, connecting with the forces of nature. I found all these different rituals, going back to the sixteenth century, and staged them in a film. For instance: In the villages there would be lots of rain, which would damage the growing corn—so all the women of the village, from the very young to the very old, would run into the fields and lift their skirts to scare the gods and make the rain stop. It’s an amazing image. There’s nothing pornographic there, and it makes you see your own organs in a completely different light. "
source:
nymag - Karen Rosenberg 2005

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Marina Abramovic' - Balkan Erotic Epic (13:03)
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woensdag 29 juni 2011

Hanae Utamura - Individuality 2009


Hanae Utamura
The artist is standing straight and stiff within a group of radio-gymnastic exercisers in the video. Japanese children have a custom of gathering in a park early in the morning during their summer vacations to do such exercises. Some adults share in the practice and do radio gymnastic exercises every morning as they did in their childhood.

wastedspaces

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individuality 2009 (03:35)
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dinsdag 28 juni 2011

David Brazier & Kelda Free - Hawaiian Dreaming 2010



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Hawaiian Dreaming 2010 (06:29)
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Japan 2010
Single channel video installation

In a video showing 31 Japanese Hawaiian dance students preparing and then putting on a performance in a community centre gym, we explore the interplay between suburban reality and a global fantasy.
Special thanks to Yusuke Masuno, Ono San and the Hula dance students of Moriya.

David Brazier & Kelda Free


maandag 27 juni 2011

Mai 68 posters









During the disturbances in Paris in May 1968 students and striking workers occupied the Ecole des Beaux Artes. They set to work anonymously producing some of the most striking political graphics of the 20th Century.

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(Paris, May 1968) Beauty is in the Street (02:59)
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zondag 26 juni 2011

Leidy Churchman





Leidy Churchman: "I make transgender pictures. My painting is informed by transitions, the humor of uncertainty, and relationships of supposed opposites.

I see people and their environments morphing into transsexual, not as a definitive destination but a space of complexity and amusement. As a transgender artist, I imagine “trans” as suggestive and paradoxical, where gender is always contradictory and in a state of flux."
source:
progressontheprairie

hortongallery : New York Art Book Fair, P.S.1/MOMA: Hardbacks : Nov 4 – Nov 7, 2010

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Art Perspective: The Artist, Gallerist & Collector, November 30, 2010 (03:00)
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zaterdag 25 juni 2011

Generation OS13: The new culture of resistance


Generation OS13 is an explosive insight into the attack on civil liberties occurring in western democracies and how artists, musicians, journalists and authors encourage the peoples right to resist against Banker occupation.

Examining economic dictatorships, puppet regimes, tax havens, tax dodgers, and the debt based money system the film explains why 'you can not count on the law makers to see shit when it first happens'. For a new era, generation OS13, the repression will not be tolerated; do 'the government really think they can win that war if the young people are like fuck this, you cant beat that you, can't beat us, its Impossible' - Saul Williams.


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Generation OS13: The new culture of resistance (28:16)
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vrijdag 24 juni 2011

Güneş Terkol




Güneş Terkol takes inspiration from her immediate surroundings, collecting materials and stories, which she weaves into her sewing pieces, videos, sketches and musical compositions. The protagonists of her narratives, humorously represented by Terkol in her work, are usually women adapting or refusing to adapt to the social and cultural transformations that affect contemporary Turkey. The act of sewing and using recycled fabrics becomes, in itself, an act of resistance which claims back a form of independent production and widens access to contemporary art.
source:
gasworks.org


galerinon


donderdag 23 juni 2011

The Worshippers - Mustafa Hulusi and Mark Titchner (2009)


The Worshippers, a video by Mustafa Hulusi and Mark Titchner. The work, originally designed as a moving billboard to be encountered in a public space, is screened on a structure of scaffolding poles. This display highlights the work’s reference to the visual language of advertising, a recurring theme in both Hulusi and Tichner’s practices. In the work, images of Ayatollah Khomeini, leader of the 1979 Iranian revolution, are merged with hypnotic geometric patterns and Titchner’s signature truisms in a style reminiscent of 60’s psychedelia and 80’s rave culture. By recalling these recent countercultural movements the video subverts it’s own aesthetic; it denounces aspects of Western capitalism and consumerism and proposes we look elsewhere for spiritual fulfilment.
source:
artslant

maxwigram

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The Worshippers, Mark Titicher and Mustafa Hulusi, 1' 55 sec (loop), 2009
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woensdag 22 juni 2011

Hans Peter Feldmann




Hans Peter Feldmann has a history of resisting the art world’s commercial structures, issuing his work in unsigned, unlimited editions and at one point retiring from art making altogether for nearly a decade in the 1980s. Bank notes, like artworks, are objects that have no inherent worth beyond what society agrees to invest them with, and in using them as his medium, Feldmann raises questions about notions of value in art. But his primary interest in the serial display of currency lies less in its status as a symbol of capitalist excess than in its ubiquity as a mass-produced image and a material with which we come into contact every day. At its core, this formal experiment presents an opportunity to experience an abstract concept—a numerical figure and the economic possibilities it entails—as a visual object and an immersive physical environment.
source:
artdaily


projectesd

youtube:Kunsthalle Düsseldorf Hans-Peter Feldmann


dinsdag 21 juni 2011

Cecilie Lind




Artist Statement

Cecilie Lind, I work with sculpture, objects and installation. The source of inspiration thrives from subject matter concerning politics and contemporary questions, and the works often have a distinct agenda. I aim to comment and create an arena for reflection, rather than giving straight forward answers and easy solutions. The projects are often put in a context of dystopia to bring the issue to a head, and give the projects intensity.


saatchionline


maandag 20 juni 2011

Darsha Hewitt




Darsha Hewitt's artwork makes use of public vicinities and responds to the environment or people that surround it. It often questions the role of automation in everyday life and how technology-reliant society silences and reinterprets identity. Her main areas of research are late 19th and early 20th century audiovisual and communication technology. She studies the practices of mid 20th century amateur electronics and radio enthusiasts and how they used homemade technology to augment and understand the world around them. She often draws on the formulas and aesthetics found in vintage D.I.Y. electronics magazines such as Popular Mechanix and Electronics Illustrated. In addition to her art practice, Darsha teaches workshops on experimental approaches to versatile technologies and does consulting with communities new to electronic media and open source practices.
source:
.dpi: « In the Studio » with Darsha Hewitt :: By Tania Perlini

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Magnetic Identity Liberation Front (04:03)
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The M.I.L.F. is an association that allows individuals to assert their unique identity. The M.I.L.F encourage willing participants to liberate their ‘personal magnetic identity’ by swiping a magnetic stripe card, from their wallet, through a card reader. The highly guarded information contained on the card is read and translated into an abstract sound sequence (specific to the card). Through trust and exchange, the M.I.L.F. engages with members of the community to question issues relating to possible interpretations and transformations of identity.


zondag 19 juni 2011

Kasumi - The Free Speech Zone (Redux)


Kasumi's film The Free Speech Zone, cited in The Encyclopedia of Underground Movies, was featured at the Nemo Festival at the Forum des Images in Paris, the Milano Film Festival, Expresion en Corto, Mexico City, and the Sapporo International Short Film Festival where it won First Prize. The Stuttgarter Nachricten described her work as "a modern age version of Francesco Goya's Disasters of War”.
source:
visualmusicarchive

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The Free Speech Zone (Redux) (14:24)
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