Jonah Brucker-Cohen, ‘Alerting Infrastructure!’ (2003)
‘Alerting infrastructure’ is a physical hit counter that translates hits to the website of an organisation into interior damage of the physical building that they inhabit. Each unique visitor “hit” is translated into physical output in the form of activating a large, pneumatic jackhammer on a wall in the exhibition-space.
This was a practice where the mother, often disguised or hiding, often under a spread, holds her baby tightly for the photographer to ensure a sharply focused image.
From The Hidden Mother
Stephen Prina, ‘As he remembered it’ (2011)
The point of departure for As He Remembered It is a memory from the 1980s, shared with artist Christopher Williams, of a fitted unit by architect R. M. Schindler that is taken out of its original context, painted, and recontextualized as an independent object.
To bring this personal anecdote to the Hauptraum of the Secession, Prina chose two now-demolished houses built in the early 1940s by R. M. Schindler in Los Angeles for Hilaire Hiler and Mrs. George (Rose) Harris. Using surviving plans and photographs, he had copies made of the fitted units, resulting in 28 objects that were then used as supports for monochrome painting—Prina painted them pink using “PANTONE Honeysuckle 2011 COLOR OF THE YEAR”—and restaged in a specially developed grid pattern in the Secession’s Hauptraum.
Martin Höfer
‘Capital unemployed’ (2011) by Martin Höfer
The work ‘Capital unemployed’ is a series of excerpts taken from work descriptions of artworks in the collection of the National Gallery of Art in Vilnius. The descriptions, shown on an LED-screen fixed to the outside wall of the museum, belong to artworks which are not publicly accessible because they are kept in the museum’s repository.