٠ ‘one becomes what one is by overcoming the wish to be that which one is not’ ٠

© Coke Wisdom O’Neal, Jessica Sue Layton, from the series The Box (Manhattan), 2005 © Coke Wisdom O’Neal, Chris and Mike O’Neal, from the series The Box (Manhattan), 2005 SARTRE’S MAP OF AUTHENTICITY BAD FAITH GOOD FAITH OPPRESSION CITY OF … Continue reading ٠ ‘one becomes what one is by overcoming the wish to be that which one is not’ ٠

٠ Susan Hiller & the transformative potential of investigation ٠

Susan Hiller, Sisters of Menon, 1972 -79. 4 L-shaped panels of automatic writing, blue pencil on A4 paper with typed labels Susan Hiller, Dedicated to the Unknown Artists, 1972-76. Installation view, Tate Britain, London. «In fact, Hiller herself has commented that what her archive includes are moments missed, fleeting encounters with a movement that never registered in consciousness (and that is, as such, homologous with trauma): “We love these pictures because they freeze a movement which otherwise we never realize we see.” It is this element in Hiller’s archive that interests me most, a moment of missing out that is … Continue reading ٠ Susan Hiller & the transformative potential of investigation ٠

┐ Stuart Sherman, performance after writing └

Stuart’s Thirteenth Spectacle (time), 1980, can be seen here “Stuart Sherman, a member of the important generation of American avant-garde performance artists who rose to prominence in the late 1960s and early 1970s, developed his own unique style across various media, the impact of which continues to resonate with the avant-garde eight years after his death. He devoted a large amount of his time to the creation of performances he called “spectacles”, which often took the form of small tabletop performances. These performances involved the manipulation of both familiar and unfamiliar everyday objects atop one or more folding TV dinner … Continue reading ┐ Stuart Sherman, performance after writing └

┐ Peter Puklus, Handbook to the Stars └

© Peter Puklus, Handbook to the Stars “There is a reason why Peter Puklus’ first publication is called Handbook to the Stars, a subtle manifesto of his Ars Poetica. With this handbook he attempts to portray his own universe and provide insight into how his photographic works relate to each other: like galaxies in relative proximity to one another that are bound together by their own gravitational force. The images function alongside one another and through one another, have no sequence or chronology, but exist individually even as they form interconnections and follow their own patterns. Hence they do not … Continue reading ┐ Peter Puklus, Handbook to the Stars └

┐ Donald Goddard and Hannah Wilke – Love made possible └

All reproductions of Hannah Wilke’s work were removed due to copyrights issues. Here’s the link to her virtual home. © Hannah Wilke, My Country tis of thee, 1975 “Lil Picard: I see you are a collector of Art Deco objects. Why? Hannah Wilke: I’ve always collected things. Objects have always been important for me. But the older I get the less I need things, especially since I am concerned with my work now. I haven’t been really colJecttng much lately. My work is my collection; the small sculptures replaced the objects that had been made by society, and my work … Continue reading ┐ Donald Goddard and Hannah Wilke – Love made possible └

┐ The blind man and his visual clarity └

© João Maria Gusmão & Pedro Paiva Terence Koh, God, 2007. View of the performance at de Pury & Luxembourg, Zurich. Courtesy Peres Projects, Berlin. Installation view of Terence Koh (Whitney Museum of American Art, New York, January 19–May 27, 2007). Photograph by Sheldan C. Collins © Hiroshi Sugimoto, Self-portrait, 2003 © Hiroshi Sugimoto, from the series Theaters, 1978 “I wish to suggest that we are like philosopher-artists installed in these works, engaged in inscribing and contemplating the line between the real and representation, the trait, which continually both “draws a boundary and with draws from it.” To be this … Continue reading ┐ The blind man and his visual clarity └

┐ Micael Nussbaumer & The Weaving Factory – chaos as creative force └

© Micael Nussbaumer, from “Tempo Imprime no Espaço” (lit. translation: Time prints in Space), installation © Micael Nussbaumer, “Desfiar”, installation, several different documents from the abandoned Fábrica da Fiação de Tomar (The Weaving Factory), 2010 © Micael Nussbaumer, video stills, from “O Registador”, 2010 “Each video depicts an intervention in the abandoned space of Fábrica da Fiação. They are loops, without a beginning or an end, which brings them closer to photography rather than video.(…)” “Micael Nussbaumer’s installation, “O Registador”, explores objects and spaces from the abandoned «Fábrica da Fiação de Tomar». The choice of this weaving factory as the … Continue reading ┐ Micael Nussbaumer & The Weaving Factory – chaos as creative force └

┐ The “hau” of dead birds └

© Eric Slayton, Nude wtih Hawk, from the series Fauna and Flora, 2000 © Eric Slayton, Colaptes Auratus, from the series Ornithological Study, 2003 © Eric Slayton, Accipiter Gentilis, from the series Ornithological Study, 2003 © Sofia Silva, Pheasants IR, 2007 More of Eric Slayton’s work here “But Hertz had also found—I discovered it amongst his papers—a text whose significance we had both missed, for I had been unaware of it myself. Speaking of the hau, the spirit of things and particularly of the forest and forest game, Tamati Ranaipiri, one of Mr. Elsdon Best’s most useful informants, gives quite … Continue reading ┐ The “hau” of dead birds └

┐ Ian van Coller └

© Ian van Coller, Daisy Angy Kekae (left), from the series Collage Portraits, 2009 “This series combines several influences that have personally been relevant to my art-making process. The work grew out of my experimentation with the use of quilting techniques based on traditions from Africa and Gees Bend, Alabama as a way to tell stories and record oral histories. The manner in which individuals in these portrait collages are presented, was heavily influenced by posters from the period of resistance against apartheid in South Africa. The union posters are now iconic examples of the strong printmaking tradition that grew … Continue reading ┐ Ian van Coller └

┐ Ugo Rondinone – I don’t live here anymore └

© Ugo Rondinone, all Untitled, from the series I don’t live here anymore, 1996 “My discovery of Rondinone dates back to a sexy picture I noticed in Flash Art in the mid-1990s, of what I took to be a seductive model revealing a glimpse of appealing cleavage. I hadn’t actually meant to stop at the image, but biology had taken over, as it does. But wait a second. There was something weird about this girl. Why was she so swarthy? And wasn’t that a moustache on her upper lip? Someone had digitally transferred his head onto a photograph of an … Continue reading ┐ Ugo Rondinone – I don’t live here anymore └

┐ Deborah Bohnert └

© Deborah Bohnert, Untitled, from the series Bohnert and Bohnert, 2005 © Deborah Bohnert, Untitled, from the series Bohnert and Bohnert, 2005 © Deborah Bohnert, Untitled, from the series The Little People, 2009 © Deborah Bohnert, Untitled, from the series The Little People, 2009 “…Dada had long operated according to the principle of instability, blurring distinctions between art and mass media (in photomontage), art and mass production (in the readymade), and intention and reception (in public provocations and spectacles). In 1921, Roman Jakobson characterized the movement as “transrational”—an indulgence in sheer relativity and paradox—citing Tristan Tzara as support: “I am … Continue reading ┐ Deborah Bohnert └

┐ Patty Carroll – Anonymous Women └

© Patty Carroll, Untitled, from the series Anonymous Women © Patty Carroll, Untitled, from the series Anonymous Women © Patty Carroll, Untitled, from the series Anonymous Women “Anonymous Women” is a series of “Un-portraits” as Carroll calls them, of women draped – entirely covered – in various fabrics, with minimum props. Lush fabrics, an unlimited color palette and an at times subtle to overt sense of humor infuses the work with a fresh, lingering impact on the viewer. Even though viewers “gaze” at these portraits of women (portraits are politically loaded art objects, which when spoken of become terms, with … Continue reading ┐ Patty Carroll – Anonymous Women └

┐ Todd McLellan └

© Todd McLellan, Old Camera, from his recent work Disassembly © Todd McLellan, Apart Camera, from his recent work Disassembly © Todd McLellan, Old Typewriter, from his recent work Disassembly © Todd McLellan, Apart Typewriter, from his recent work Disassembly ‘disassembly’ by canadian photographer todd mclellan is a series of images capturing old relics of our past in its dismantled form. including items such as a typewriter, push lawn mower and a rotary phone, the collection delineates the astounding intricacies and craft of these mechanical objects. every piece and component are positioned in an almost obsessive-compulsive arrangement – by type, … Continue reading ┐ Todd McLellan └

┐ Seo-Yeoung Won └

© Seo-Yeoung Won, Chair, from the series Compressed Reality, 2010 © © Seo-Yeoung Won, Wheel, from the series Compressed Reality, 2010 “My work starts with sublimating from a mere common object in dairy life to an entity having a particular denotative meaning. For this, I have paid attention to existing expression methods of painting and installation art that take a dairy life object as a target of expression, and have continued experimentations to realise the methods in a particular space of a photographic studio. The illusion of space created by the painting, and the relationship between an object and space, … Continue reading ┐ Seo-Yeoung Won └

┐ Jakob Hunosøe └

@ Jakob Hunosøe, Thermos placed on lamp , from the series Out of Order, 2012 framed, 46,5 x 46,5 cm, Archival Fiber Print, edition of 5 @ Jakob Hunosøe, Tin pot and ceramic pot touching electric kettle on plate , from the series On Things Ordinary, 2010 framed, 46,5 x 46,5 cm, Archival Fiber Print, edition of 5 Rather than objectively exposing the surroundings, Hunosøe uses the photograph as a means of rewriting reality. With simple artifices such as reflections, additions and unexpected combinations, he adds a poetic, surreal dimension to his motifs. The photograph becomes an instrument enabling us … Continue reading ┐ Jakob Hunosøe └

┐ Davide Maione └

© Davide Maione, Reaching © Davide Maione, Beaten (left) and Appeal (right), from Outlines and Annotations © Davide Maione, What it takes to keep a young girl alive “What It Takes to Keep a Young Girl Alive is a diptych of photographs that takes its title from a short story by Jayne Anne Phillips. Whilst being the departing point for creating a link between portraiture, narrative and performance, Phillips’ short story functions as fictional milieu for exploring notions of selfhood and subjectivity. The diptych seizes on the very essence of Phillips’ story: the repetitive gestures of menial labour, the dead end job … Continue reading ┐ Davide Maione └

┐ Muga Miyahara └

© Yuki Onodera, Muga Miyahara, Increase, from the series Tokonoma © Yuki Onodera, Muga Miyahara, Fear, from the series Tokonoma “Japan photographer Muga Miyahara’s interpretation of tradition is most noteworthy in his works titled “Tokonoma”. The term refers to a built-in recessed space in a typical Japanese house, usually decorated with a calligraphic or pictorial scroll and an Ikebana flower arrangement. In Miyahara’s vision the Tokonoma becomes a stage presenting a cornucopia of different objects, inviting the viewer to explore a variety of ideas and thoughts. Although the arrangements are zen-like, very pure and simple, they have the effect of … Continue reading ┐ Muga Miyahara └

┐ Yuki Onodera └

© Yuki Onodera, untitled, from the series Portrait of Second Hand Clothes, 1994 © Yuki Onodera, untitled, from the series Portrait of Second Hand Clothes, 1994 “La série, Portraits de fripes, marque une étape dans le travail de Yuki Onodera. Profondément autobiographique, cette œuvre correspond à son installation à Paris en 1993 où elle photographie des vêtements d’occasion par la fenêtre de son studio. Ils apparaissent suspendus, avec pour chacun un fond de ciel nuageux différent. Ce sont des vêtements ordinaires, attributs de ceux qui les ont portés. Placées sous l’objectif de Yuki Onodera, ces fripes révèlent une identité différente, … Continue reading ┐ Yuki Onodera └

┐ Wyne Veen └

© Wyne Veen, Modern Art © Wyne Veen, Plant Hair “My central theme is uselessness. I feel that life is ridiculous. The products and arrangements I show are a reflection of investments of time and effort by men. They show the development of our society just like the old 17th century famous Dutch still lives did. But I don’t see this development as something to be proud of, I think it is way over the top. So I criticise it. I often wonder what on earth people are occupied with while there are so many better things to do. I … Continue reading ┐ Wyne Veen └

┐ Gary Watts └

© Gary Watts Untitled #1, from the series Iconicity © Gary Watts Untitled #7, from the series Iconicity “The use of lens based media provides a platform that enables me to explore thematic aspects of every day, attempting to look beyond the physical features of objects and environments and examine the sub-text contained within the images. The representation of banal objects and common environments provides an insight into the relationship we develop with our surroundings and reflect the transformative character of the space and the objects. These representations offer disclosure into social and cultural customs and events, capturing also moments, … Continue reading ┐ Gary Watts └

┐ Laurence Skivée └

© Laurence Skivée, Koen Wastijn “puma”, 2009 © Laurence Skivée, Mona Hatoum “Witness” (detail), Galerie Chantal Crousel, 2010 © Laurence Skivée, éclats, 2010 “À supposer que la photographie puisse ou doive servir à quelque chose, ce devrait être à fixer l’ordinaire, le mouvement de l’ordinaire, à arrêter simplement pour un instant le flux de l’ordinaire. Non pas tant en garder le souvenir visuel qu’en prélever quelque image fugace, positive, triste, ambigüe, sincère ou spontanée. Quitte, à l’occasion, à photographier des photographies. L’art est inutile — c’est même à cela qu’on le reconnaît —, c’est ce qu’on en dit ; mais … Continue reading ┐ Laurence Skivée └

┐ Bill Durgin └

© Bill Durhin, Untitked, from the series Nudes and Still Lifes © Bill Durhin, Untitked, from the series Nudes and Still Lifes “Nudes and Still Lifes is a series of photographs that reverberate between the languages of attraction and abjection, painting and performance, photography and sculpture. While specific poses riff on gestures and peripheral details from the works of Lehman, Corbet, Gerome, Belmer, and Bacon, the exquisite distortion of the figures attempts an undoing of recognizable form. For the Nudes images I work with dancers, models, and my own body to choreograph shapes through contortion and perspective. Resisting traditional views … Continue reading ┐ Bill Durgin └

┐ Luce Pelletier └

© Luce Pelletier, Le leurre de l’hêtre, from the series The Lure, 2004 © Luce Pelletier, Le leurre du plantain, from the series The Lure, 2004 “The series of The lure (2004) is composed of ten photographs in big format are imprinted on silk cloth (127 x 154cm). The Lure’s representing glove plants, placed in situ so as to make belief that they come from nature. These photography’s suggest the influence of biotechnologies over the environment – objects/hands prepared with vegetable matter – sewn, stitched with string thread, weaved and produced on a small scale. Equivalences are established between the … Continue reading ┐ Luce Pelletier └