Costantino di Sambuy, ‘Battle of the Generic’ (2012)
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Posted in Composition
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Also tagged architecture, black, capitalism, chain, Costantino di Sambuy, design, drawing, egenric, fuckem, fun, grid, italy, public space, sameness, stores, structure, theory, unknown, white
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Hans Haacke, untitled #1 (2005)
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Posted in Composition
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Also tagged America, beam, brown, conceptual, DIY, found, fuckem, germany, hans haacke, installation, politics, statement, table, text, the wild, trash, turned, unknown, upside down, wood
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From ‘Advertisements for Architecture’ (1976-77) by Bernard Tschumi.
Tschumi illustrated several of his early theoretical texts with Advertisements for Architecture, a series of postcard-sized juxtapositions of words and images. Each was a manifesto of sorts, confronting the dissociation between the immediacy of spatial experience and the analytical definition of theoretical concepts.
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Posted in Composition
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Also tagged action, advertisement, american, architecture, Bernard Tschumi, black, building, collection, decay, definition, design, desire, DIY, experience, fuckem, history, images, Le Corbusier, limits, manifesto, photograph, society, space, text, theory, unknown, villa savoye, words
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Marc Bijl, ‘Flash Art’ (2002)
In 2002 Bijl made a fake edition of the art magazine Flash Art, containing only articles about him and advertisements for his own exhibitions.
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Posted in Composition
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Also tagged advertisements, collection, commercial, copy, corporate, DIY, exhibitions, flash art, fuckem, fun, magazine, Marc Bijl, narcissism, performance, promotion, self, text, the wild
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Josephine Meckseper, ‘African Spir’ (2011)
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Posted in Composition
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Also tagged african spir, artefacts, birds, capitalism, collection, connections, consumer, context, display, installation, josephine meckseper, market, materialism, mausoleum, mirror, objects, politics, power, products, shine, shop window, surface, trouvé, unknown, value, vitrine
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Dennis Oppenheim, ‘Device to root out evil’ (1997)
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Posted in Composition
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Also tagged church, dennis oppenheim, device, down, evil, exorcism, god, house, installation, out, public, religion, romance, root, sculpture, space, street view, unknown, upside
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‘Germania’ (1993) Hans Haacke‘s contribution to the 1993 Venice Biennale.
“I learned that the pavillion’s present appearance was tied to Hitler’s rise to power in 1933. As part of an excursion to Venice for a meeting with his comrade Benito Mussolini, the man who had not succeeded as a painter in Vienna, paid a visit to the Biennale and the German pavilion. Hitler did not like what he saw. As a consequence, by 1937 an exhibition titled Degenerate Art opened in Munich, and plans for the re-styling of the pavilion in Venice were approved. A new national corporate identity was in the making – and so were preparations for the expansion of Germany beyond its borders and the introduction of a deadly programme of ethnic cleansing.”
(Hans Haacke in an essay for Tate Papers)
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Posted in Composition
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Also tagged action, biennale, Break, DIY, floor, fuckem, germania, germany, hans haacke, history, installation, institutional, lesson, light, marble, nazi, pavilion, plates, power, romance, smashed, the wild, trash, venice
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DEMOCRACIA, ‘Eat the rich/Kill the poor’ (2010)
Intervention on a hummer limo for transportation of collectors and art lovers during Armory Show 2010, New York. (Photos by Rodrigo Pereda)
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Posted in Composition
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Also tagged action, Art, collectors, democracia, eat, economics, fuckem, hummor, intervention, kill, lovers, performance, poor, public art, rich, text, the wild, transportation, trash, vips
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Jean-Baptiste Ganne
Jean-Baptiste Ganne, Untitled (All that Glitters is Gold) (2007)
Installation in the water tank of the roman Villa Medici, 2007.
TAILS (Effet placebo). Between radical criticism of government organisations and simple prostitution the gap can appear extremely small. Pouring the budget that is supposedly attributed to the production of an artwork out onto the ground, would be a way of lowering the legal tender (the sign of value), of spreading it about, immobilising it. Then making it both the subject and the object of the piece(s).
HEADS (Et fait place au beau). Everything will be read as a “fountain-making”. And the multiplication of figures. Of those born from the waters and money of antiquity. Make a hundred thousand Boticellian Venuses glitter under the flow of raindrops from the natural fountain that the water tank at the Villa Medici is, like a hundred thousand wishes impossible to formulate.