Julien Bismuth, ‘The saddest funniest sculpture in the world’ (2007)

The saddest funniest sculpture in the world’ – Performance.

‘The saddest funniest sculpture in the world’ – Installation view.

‘Dead Air Comedy’ (2010)

Video still

Don was asked to compose and improvise a series of monologues, inspired by stand-up comedy routines, and to perform them in the empty theater of the ACF, letting the silence of the absent audience amplify the tragi-comic vacuity of his solitary performance, and of the genre from which it stems.

‘Plouf’! (with Jean Pascal Flavien)

Video still

On 26 July, 2006, two boats met somewhere off the coast of Rio de Janeiro, near the Ilhas Cagarras. A sailing ship, party of Rio, accommodated the public and Flavien and Bismuth were held in a smaller boat, party of the beach of Copacabana, which left one hour later. The moment the two boats were within range to communicate marked the beginning of the performance. Reading texts punctuated by signs and signals, the performance was completed only when the two boats drifted too far apart. Plouf! was then re-invented on Feb 21st, 2009 in the context of the river Thames, outside Tate Modern.

Interview with Bismuth and Flavien by Tate.

Simon Faithfull, ‘Accident book’ (2009)

Accident Book is an intervention in eight Accident and Emergency wards across London and Cambridge. The book tells the story of 33 accidents that befell the writer over a period of 42 years.

From June 2009 onwards, people waiting for treatment, prognoses or friends, began to discover books lying amongst the copies of old magazines in these Accident and Emergency wards. The 500 copies of Accident Book distributed through these eight hospitals are each individually numbered and the finders of these books are encouraged to take them home but also to register them here.

Two examples:

The gut region.

The toes.

Jon Sasaki, ‘Flyguy triggering his own motion sensor’ (2010)

A flyguy (one of the familiar dancing inflatables that wave people into carwashes and fast food restaurants) has been moved into the gallery and hooked up to a motion sensor.

Click here to view a videoclip

‘Toronto’s Official Y2K Mascot, Autumn’ (2008)

With “2000″ emblazoned on his CN Tower-shaped body, an obsolete Y2K mascot sits contemplating his few, if any, prospects.

Click here to view a videoclip

‘Fireworks’ (2006)

Sputtering fireworks are thrust into a gallery display case, which, while containing the danger and violence, also highlights and reveals.

Click here to view a videoclip

‘Black Light Thrift Store’ (2007)

Intervention in a second hand store.

‘Jon Sasaki’s Best Friendship’ (2006 – ongoing)

The artist is offering his lifelong best-friendship.
Purchasers of a pendant are asked to break it in two, select either the “BE-FRI” half or the ”ST-END” half for themselves, and leave the other half with a gallery representative. The artist will then collect and wear his component as an official symbol of the newly formalized friendship.

Ingo Vetter (for the Detroit Tree of Heaven Woodshop), ‘Adaptation Laboratory’ (2004)

Exhaust-air driven greenhouse growing a ‘Tree of Heaven’ (Ailanthus altissima), a rare deciduous tree of tropical origin.

Eric Von Robertson | C.A.R.L., ‘Gentle Load’

In 1982 Larry Walters, nicknamed ‘Lawnchair Larry’, travelled to an altitude of over 15.000 feet (4600 m.) strapped to an ordinary lawn chair with 45 helium-filled weather balloons attached to it.

Also see this post: The space chair project (commercial)

‘Autoportraits’ by Vladimir Nikolic (2001)

Click here to see the video

‘DeLorean reflecting a Gerhard Richter painting’ (2010)

‘Hummer reflecting an Ellsworth Kelly’ (2010)

View a lot of other paintjobs by Jon Rafman at Brandnewpaintjob.com.

‘Mondrian Dolphin’ (2010)

‘Harness’ (2006)
The compulsive energy of a running mouse generates a music box (Brahm’s Lullaby).

‘Applied geometry’ (2004)

‘Vacancy’ (2006) (altered toaster) by Robert Wechsler.

‘Jerry’ (2006) by Matthias Meyer. (sticker, 10 cm. x 11 cm.)

‘My Most Favourite Art’ (2004 – 2009)

My Most Favourite Art’ is an installation made of exhibition plates, which Maria Anwander has stolen and collected from different galeries and museums since 2004. Only criterion for the theft of a plate is her fascination for the work which belongs to it.

‘Everyones’ Best Friends’ (2009) by Maria Anwander.

Cutouts of banknote-portraits from eight different currencies. (via)

‘Federer – Nadal, Heiliger – Bill’ (2007)

‘Woman, Voice, Car, Horn’ (2010) by Bas Schevers.

More recent work by Bas:

‘About the good and the bad sculpture’ (2010)

Criticising and discussing two sculptures at a flee market.
(with Hedwig Houben)

‘Cursing and blessing the gallery’ (2010)

A spiritual practitioner was hired to consecrate the right part of the space using white magic. The left part was cursed with the use of black magic, thus attributing ‘good’ to the right side in contrast to the ‘bad’ on the left.

‘Refait’ (2009) by Pied la Biche.

‘Refait’ is a remake of the football WorldCup match between France and Germany (Seville, Spain, 1982). Shot by Pied La Biche in Villeurbanne (France), every aspect of the fifteen last minutes of the match was carefully reconstructed : players, positions, gestures, intensity, drama etc. It consists in shifting the traditional game area into the urban environment. Each sequence takes place in one or several locations and then the city temporarily becomes the lab for unsual experiments.

A way to overcome a lost football match…

‘Untitled’ (2009), ‘Sprint’ (2009) and ‘Ball in cup’ (2009) by Brad Troemel.

‘Deep Play’ (2007) by Harun Farocki.

‘Deep Play’ brings together 12 different perspectives on one of the biggest broadcasting events ever – the 2006 FIFA World Cup held in Germany, seen by an estimated 1.5 billion viewers worldwide. The screens combine the artist’s own footage, FIFA footage, digital analyses and 2D and 3D animation sequences, so that we see the event from unexpected viewpoints.

‘Deep Play’ unpicks the nature of 21st century media spectacle: it bombards and dazzles our senses with an excess of data and digital imaging. From one viewpoint, we watch the stadium guards and see their tedium, literally behind the scenes of the pitch. From another angle, we watch the team coaches howling and hollering at the field. On a third screen, the channels’ directors control our viewpoints. On a fourth, the players become avatars, uncannily moving in synchronisation with their live counterparts. On a fifth, we can see each player’s speed, their percentage of possession, the number of shots on goal undertaken – and more. Every conceivable aspect of the game is surveyed, assessed and processed in real time. (text and images via)

More about ‘Deep Play’ on Artintelligence.net.

A street performer dressed in a costume made out of mirrors. (spotted here)

(via Jan)

‘Never Odd or Even’ (2010) by Brookhart Jonquil.

Sjaak Langenberg, ‘Mental expansion of Schiphol Airport’ (1999)

The school canteen of Cals College in the Dutch town of IJsselstein was connected live, at varying times each day, with the announcement headquarters of Amsterdam Airport, Schiphol. This audio art-work was provoked by the link between noise pollution around Schiphol airport and the Lopik broadcasting mast, which causes IJsselstein particular nuisance.

Electroboutique, ‘AirPort’ (2009)

AirPort is placed in a forest, between trees and bushes. The huge departures display shows flight numbers, departures times, gates, airlines and destinations. All information is displayed in real time. A female voice announces changes in the timetable, last calls and other information that is usually announced at airports.

source

Saâdane Afif, ‘Untitled (Everyday)’ (2004-2006)

The stack is expanded every day by the day’s local newspaper.

Nickolaj Recke, ‘Tomorrow is today’ (2006)

The video shows two parallel projections, one from each side of the date line, thus conceptually creating a visual space where you can simultaneously perceive two days; a space that does not exists in physical reality and a space where there are principally no todays, just yesterdays and tomorrows.

Tomorrow

Yesterday

A man standing on the dateline/180° Meridian, one leg in today, the other in either yesterday or tomorrow.

More work:

‘10 METERS OF EXTENDED US COASTLINE‘ (2007)

The US coastline was extended by ten metres by digging a hole.

‘Moonplay’ (2006)

A series of photographs in which the full moon was used as a little playing ball at the night sky.

‘Calendar of tomorrows’ (2006)

A normal calendar which is always one day ahead.

“The landscape was a mixture of the strange and the beautiful..“

“Well, I don’t know about the treasure, but I’m sure there is fever there.”

“There was no evidence that man had ever sat foot here before”

Marjolijn Dijkman, stills from ‘Surviving new land’ (2009)

A video shot for Portscapes, a series of art projects along the coast of the Maasvlakte, near Rotterdam.

Dijkman shot the video from a boat circling a newly created island. This video was eventually dubbed with audio excerpts from moviescenes where people are entering land from the water.

Lo-res video here

Below is an interview with Dijkman about the project

Avi Krispin & Steven de Jong, ‘Steven’s pitch’ (2005)

Michael Lentz, ‘Wie es früher war’ (2002)

A performance by German sound poet Michael Lentz at Proposta ‘02, Barcelona.

]]> http://pietmondriaan.com/2010/06/27/michael-lentz/feed/ 2 http://pietmondriaan.com/2010/06/24/oskar-dawicki/ http://pietmondriaan.com/2010/06/24/oskar-dawicki/#comments Thu, 24 Jun 2010 09:24:19 +0000 mh http://pietmondriaan.com/?p=4374

Oskar Dawicki, ‘I’m sorry’ (2010)

Live in front of the audience Dawicki reads a text explaining he’s sorry for the failed performance he’s giving. Finally, to make up for wasting the audience’s time and the curator’s chance of putting on a good show, he hands out sweets while a taperecorder plays the sound of him crying and once more apologizing.

A performance seen in Rotterdam during Witte de With’s performance cycle ‘Let us compare mythologies’. Pictures by Peter Rakossy.

More fine work by Dawicki downstairs….

‘Vanitas’ (2005)

‘Vanitas’ (detail)

A collection of groceries whose before dates expire during the exhibition. The timers placed by each of the products display the time left to their “death” – each day of the exhibition another product expires, as the exhibition ends all products are inedible.

‘Advertising project’ (2002)

‘Advertising project’ (detail of one of the hidden portraits)

Working for over two years as a graphic artist in one of Cracow’s advertising agencies, Dawicki had placed his microscopic self-portrait on posters, leaflets and folders commissioned by producers of heating equipment, medical and health products or heavy industry raw materials suppliers. All prints have been reproduced in thousands of copies and distributed according to their function, while the hidden miniature artist’s face remained largely unnoticed.

Arthur Ganson, ‘Machine with concrete’ (1992)

Each worm/worm gear pair reduces the speed of the motor by 1/50th. Since there are 12 pairs of gears, the final speed reduction is calculated by (1/50)12. The implications are quite large. With the motor turning around 200 revolutions per minute, it will take well over two trillion years before the final gear makes but one turn.

Detail of ‘Machine with artichoke petal (#1)’

‘Machine that can make one potato orbit another one (Apparat, mit dem eine Kartoffel eine andere umkreisen kann)’ (1969) by Sigmar Polke.

‘The perverse threesome of the pencil, the paper and the rubber’ (2009) by Steven Emmanuel

‘Do not touch’ (2009)

‘Sorting the hundreds from the thousands’ (2009)

‘Matrimony’ (2009)

Two nice videos by Timur Si-Qin.

‘Projected black’ (2009). A solid black (rgb 0,0,0) image is projected onto a wall.

‘Kerze’ (candle)

The following pictures were taken at the Dia:Beacon, one of the Dia Art Foundation’s residencies in the state of New York. They have an impressive collection of iconic pieces of art, and each artist has their own room inside their wonderful building, the former Nabisco box printing facility built in 1929.

Here’s a very incomplete report, because it’s not allowed to take pictures there. These were taken from the hip by Anna.

Imi Knoebel, 24 Colors – for Blinky (1977) installation view

Walter De Maria, Silver Metres (1976)

John Chamberlain

Sol Lewitt

Dan Flavin

Andy Warhol

…more Knoebel

In my view, the best work in the collection was by Michael Heizer, for really competing with the overwhelmingly beautiful location.

Michael Heizer

Louise Bourgeois

Richard Serra

Leaving through the backyard…