In Shireff’s online project Live Feed (2007–ongoing) we can watch her walking around a vaguely human-shaped mound of clay that dominates her tiny studio. Though this is supposedly a ‘live feed’ of artistic creation, despite Shirreff’s constant movement the clay monolith lies inert, failing to take shape as a sculpture.
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.
Untitled (Tate), by Fischli & Weiss was commissioned to form part of the opening displays of Tate Modern when it opened in 2000. Its collection of everyday objects, resembling a workshop, were each individually handmade and in part designed to mimic the working environment of the Tate Modern gallery prior to it’s opening.
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.
