Still from ‘F for fake’ (1973) by Orson Welles
A documentary about fakery that focusses on the notorious art forger Elmyr de Hory and Elmyr’s biographer, Clifford Irving, who also wrote the celebrated fraudulent Howard Hughes autobiography, then touches on the reclusive Hughes and Welles’ own career (which started with a faked resume and a phony Martian invasion). On the way, Welles plays a few tricks of his own on the audience.
Pictures of the exhibition ‘Objekte als Freunde’ (‘Objects as friends’) by Jos de Gruyter & Harald Thys at the Kestnergesellschaft in Hannover, on view until August 16, 2011.
The exhibition consisted of 168 photographs of installations of the most random objects from 1 euro-shops or thrift stores, all of the same size and very detailed.
From different corners of the room came a generic, dull, computerized voice describing different colours and their associations and meaning. This sound belonged to the animation shown below.
Martin Kippenberger, ‘Peter’
The idea of the ‘Peter’ sculpture installation was that all of these sculptures would be clustered together as you see them here in a way that they’re getting into eachother’s space and they make looking at any one sculpture impossible without the interference of all the others. The sculptures are not made by Kippenberger himself, they’re made for him by his assistant Michael Krebber, an artist in his own right.
‘Peter’ was a word that Kippenberger liked to use a lot in a very general way, almost like we now would say ‘whatever’. But it also had a punning aspect in which St. Petersburg was where the Hermitage museum was, and where one could find displayed hundreds of works of art in closed configurations on the walls as opposed to the isolation that we think of in modern western museums.
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)
Job Koelewijn, ‘The world is my oyster’ (1998)
At the Fons Welters gallery in Amsterdam, Koelewijn removed a soccer goal-sized part of the back wall, which created a view into the neighboring gardens.
