Tag Archives: action


Billy Apple

Billy Apple, ‘The artist has to live like everybody else’  (1985)


Opening ‘Sorry for not standing still’ @ Kunstvlaai 2012

Last Friday our screening programme Sorry for not standing still opened at the Kunstvlaai.

We’d like to thank everyone who came out and will come out to our space to check out our programme! The responses so far have been great and it was good fun to see a lot of people take their time to see the programme we compiled.

If you were there in the past few days: we enjoyed your company! And if you didn’t yet, but you’re planning to: please do, there’s lots to see!

This screening is on view through Sunday the 2nd of December, so do come out and see what we’ve got for you. Opening hours on www.kunstvlaai.nl

www.vtape.org    www.lux.org.uk    www.idfx.nl


Ron Terada

From the series ‘Ad Paintings’ (1993) by Ron Terada


Francis Alÿs

Francis Alÿs, ‘Loop’ (1997)

In 1997, Alÿs circumvented the much contested US-Mexico border at Tijuana: using his exhibition fee for an exhibition in San Diego, Alÿs traveled by plane from Tijuana to Mexico City, to Panama City, Santiago, Auckland, Sydney, Singapore, Bangkok, Rangoon, Hong Kong, Shanghai, Seoul, Anchorage, Vancouver, Los Angeles, and finally south to San Diego. Alÿs exposed a loophole in Mexico-US border control through a physical loop on a global scale, but in so doing highlighted the fact that this could only be possible for a privileged few.


Cerith Wyn Evans

by Cerith Wyn Evans (2009)


Gelitin

Gelitin, ‘Blind sculpture’ (2010)


Roman Signer

Roman Signer, ‘Raketenhaus’


Rory Macbeth

Rory Macbeth, ‘Tree’ (2005)

Cut leaves.


Anne Adams

Anne Adams, ‘Pi’ (1998)

The work portrays the first 1,471 digits (plus the decimal point) of the mathematical ratio pi. With white, black, and component colors of the white light spectrum marking each integer from 0 to 9, Adams tried to capture the randomness of pi’s expansion.


William Anastasi

William Anastasi, ‘Subway Drawing (V. Dwan)’ (1968)

Riding the subway with a piece of paper lying in his lap, Anastasi would hold a pencil lightly, allowing the vibrations of the train to move it across the paper. He would often sign the image with the name of the person he was travelling to see.