Tag Archives: set


Jacques Tati

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From ‘Mon Oncle’ (1958) by Jacques Tati.

Monsieur Hulot lives in the old neighborhood, at the top of a building where you can see the phases of construction over time, dependent on needs and means. The old neighborhood is disheveled, though not messy. The modern cars, and their regimented driving patterns, that we see in the modern part of town are nowhere around. Rather, folks still rely on rickety old carts. Fences and brick walls have come down, have been rebuilt, and are coming down again.


William Leavitt

William Leavitt, Theme Restaurant, 1986

William Leavitt, ‘Theme Restaurant’ (1986)


Larry Johnson

Untitled (Location I), 2001

Larry Johnson, untitled (‘location I’) (2001)


Andrew Ohanesian

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Andrew Ohanesian, ‘The House Party’ (2012)

Hundreds of people attended ‘The House Party’, an exhibition opening-cum-college kegger thrown to activate Ohanesian‘s functioning replica of a suburban home inside Pierogi Gallery‘s Boiler annex.

Thanks, Ana!

 


Stuart Hawkins

Stuart Hawkins Place Setting-2010

Stuart Hawkins, ‘Place Setting’ (2010)


Nikolai Suetin

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Suprematist table & chair set by Nikolai Suetin, from 1924.


Jack Lavender

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Jack Lavender, ‘Welcome’ (2012)

Doormats, glasses, cast iron doughnut, plastic zombie hand, steel


William Leavitt

William Leavitt, California Patio, 1972

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William Leavitt, ‘California Patio’ (1972)


Maurice Bogaert

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‘No Overview’ (fragment) (2014) by Maurice Bogaert.

No Overview shows a series of works made over the last three years. The different works merge into one large scale installation.


Simon Fujiwara

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Simon Fujiwara, ‘Desk job’ (2009)

“A typewriter sits in the middle of a desk surrounded by a litter of screwed up paper, notes typed on file cards, and reference photographs of architectural details, erotic sculpture and gay pornography. Copies of the one-page synopsis of the novel are stacked on the desk, setting the fictional parameters as it describes the novelist’s thwarted attempts to write, his ultimate seclusion and his indulgence in clandestine sexual activities inspired by and in defilation of the building’s sleek Modernist architecture. The synopsis ends with the first line of the novel: ‘A novelist is living in an exquisitely crafted modernist house …’, a line we see typed on the sheet of paper in the typewriter.” (Kirsty Bell in Frieze Magazine, Issue 132, June–August 2010)