When Voebe de Gruyter was a child she often visited the Abdij van Averbode with her family to eat ice cream. She was 15 when she noticed that only two flavors of ice-cream were sold: mocha and vanilla and that the ice-cream sellers, and the people eating ice cream, were mimicking characteristics of the stone abbey behind them. The vendors in white aprons looked like friars. The Ice-cream cones were inverted abbey towers. Mocha was the color of the abbey’s stone and vanilla the color of its grout. http://1646.nl/projects/several-fractions-to-a-common
主に写真、映像を用いて日常生活で見るものや行為の中に、哲学や社会の成り立ち、政治的な意味を見いだすアーティスト。写真作品”Untitled (good times, bad times)”では、3時半や5時はなぜ他の時間より良いんだろうかという子供の持つ様な疑問に対して、街の時計に止まる鳩に答えを見つける。ロシアからオーストリアに難民として逃げてきた生い立ちも作品にかなり反映されており、ドキュメンタリー映像作品”Aleksandra Wysokinska/ 20 Jahre danach”では、逃げてくる途中のでポーランド助けてもらった夫婦を20年後に訪ねている。
Anna Jermolaewa works primarily in the mediums of photography, video, and installation. Her main interest is the analysis of functional structures of society and social systems in everyday life. She continually focuses on the basic conditions of human existence and the nature of man, capturing the relationship between the individual and the masses, freedom and restriction, power and powerlessness, (especially around relationships and networks of hegemonic structures). Her photographs and videos provide information about a world of failure, through conscious and unconscious fears, desires, and passions. The result is a reflection on individual and collective historical consciousness in the form of images that remain in the viewers’ mind. Through the visual telling of history and stories, she attempts to create places of remembrance. (Text: iscp-nyc.org/resident/anna-jermolaewa)
Staging Silence (2009)
‘Staging Silence’ is based around abstract, archetypal settings that lingered in the memory of the artist as the common denominator of the many similar public places he has experienced. The video images themselves are both ridiculous and serious, just like the eclectic mix of pictures in our minds. The decision to film in black and white heightens this ambiguity: the amateurish quality of the video invokes the legacy of slapstick, as well as the insidious suspense and latent derailmentof film noir. The title refers to the staging of such dormant decors where, in the absence of people, the spectator can project himself as the lone protagonist.
Memory images are disproportionate mixtures of concrete information and fantasies, and in this film they materialise before the spectator’s eyes through anonymous tinkering and improvising hands. Arms appear and disappear at random, manipulating banal objects, scale representations and artificial lighting into alienating yet recognizable locations. These places are no more or less than animated decors for possible stories, evocative visual propositions to the spectator.The film is accompanied by a score which, inspired by the images themselves, has been composed and performed by composer-musician Serge Lacroix.
(Text from www.hansopdebeeck.com)
時間と空間をテーマに、映像、写真、インスタレーション、絵画、小説等々、いろんな媒体を使っているそう。Staging Silence (2)も含め、他の作品は彼のウェブにのってます。
His website: http://www.hansopdebeeck.com/
[Text from her website]
Fascinated by how different moments in time and space determine our perspective and define reality, in her work Boske focuses on the system of ‘Time’. She regards reality as an unlimited field of differentials, which move disorderly alongside each other and together form the unity of being. She’s fascinated by a reality and a way of thinking that presents itself more as “becoming” rather than “being”.
Boske composes her work by capturing and assembling different visual fragments lost during the passage of time. The result is the collection of afterimages taken from past and present, together constructing an image of ‘now’, revealing a phenomenon that is impossible to see or witness with the naked eye.
In her visual language “Nature” takes up a dominant place. The relationship between man and landscape, between art and nature is a complex given. Nature is process, it changes and is in motion, it blooms grows and dies like humans. She passes, but also comes back; she is entwined with all there is.
Time continues in nature, but a photograph or video captures moments and the consciousness of the now. In this way nature and art are in dialogue with each other. In her work Boske investigates and imagines the meaning of nature and landscape and our relationship to it.
Her website: http://www.kimboske.com/
(Text by Guggenheim New York)
Gordon Matta-Clark was born in New York on June 22, 1943, to artists Roberto Matta and Anna Clark. Teeny Duchamp, Marcel’s wife, was Matta-Clark’s godmother. Matta-Clark’s childhood was spent in New York, Paris, and Chile. He studied architecture at Cornell University in 1963–68. At the 1969 exhibition Earth Art at Cornell, he met Robert Smithsonand helped Dennis Oppenheim construct two projects, including Beebe Lake Ice Cut. Like the earth artists, Matta-Clark would reject the commodification of art, eventually working in photography, film, video, Performance, drawing, photo collage, and sculpture in the form of large-scale interventions into existing architecture.
In 1969, Matta-Clark moved back to New York. Over the following two years, he explored the metamorphic possibilities of cooking, beginning by frying Polaroid photographs in oil with gold leaf. In the early 1970s, he helped organize 112 Greene Street, an exhibition space showing new art. He also collaborated on Food, a combined restaurant and performance piece; madeGarbage Wall, a prototype shelter for the homeless; and was active in building SoHo as an artists’ community. He addressed popular culture in the 1973 Photoglyphs, hand-colored black-and-white photographs depicting New York’s burgeoning graffiti.
During the 1970s, Matta-Clark made the works for which he is best known: his “anarchitecture.” These were temporary works created by sawing and carving sections out of buildings, most of which were scheduled to be destroyed. He documented these projects in photography and film. Although he made interventions into a former iron foundry in Genoa, Italy, in 1973, his first large-scale project has been defined as Splitting (1974). To create this work, Matta-Clark sawed two parallel slices through a nondescript wood-frame house in Englewood, New Jersey, and removed the material between the two cuts. In addition, he cut out the corners of the house’s roof, which were subsequently shown at John Gibson Gallery in New York. He made similar gestures in some of his photographs, cutting the actual negatives rather than manipulating individual prints.
In Day’s End (1975), the artist removed part of the floor and roof of a derelict pier in Manhattan, creating a “sun and water temple.” After he worked undiscovered on the project for two months, the City of New York filed a lawsuit against him; it was eventually dropped. For the Biennale de Paris the same year, he made Conical Intersect by cutting a large cone-shaped hole through two seventeenth-century townhouses, which were to be knocked down to construct the then-controversial Centre Georges Pompidou. In 1976, Matta-Clark created his own controversy. Rather than participating in an exhibition alongside well-known architects as planned, he shot out the windows of the Institute of Architecture and Urban Studies in New York. This act has been interpreted as a protest against the architectural establishment. Interested in the inner workings underneath the visible, he filmed and photographed tunnels, sewers, and catacombs in New York and Paris in 1977, a project aided by a fellowship from the John Simon Guggenheim Memorial Foundation.
Matta-Clark’s twin brother committed suicide in 1976 by jumping from the window of the artist’s SoHo loft. After marrying, Matta-Clark himself died at a young age, from cancer on August 27, 1978. Before his death, his work was shown in several solo gallery exhibitions as well as in solo shows at the Museo de Bellas Artes in Santiago, Chile (1971), Neue Galerie der Stadt in Aachen, Germany (1974), Musée d’Art Moderne de la Ville de Paris (1974), and the Museum of Contemporary Art in Chicago (1978).
Day’s End (1975)
Yankee chicken farm
Between June-Decmber 2006 at the time when Japan and Asia were gripped by the bird flu epidemic I undertook, as an experiment, to converse with a chicken, visiting it each day with black board and chalk. I would read from the newspaper and explain the news occurring throughout the world. At this time I explained the Iraq war, the American presidential election and devastation caused by typhoons. Internally questioning how might they interpret our tragedies, through a chicken I talked to myself, to answer my own question. From the impossibility of this conversation I examine what our actual definition of communication is.
Text by his website
Born in Argentina and based in London, artist Amalia Pica explores metaphor, communication, and civic participation through drawings, sculptures, large-scale photographic prints, slide projections, live performances, and installations.
Using simple materials such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting, cardboard, and other found materials, Pica creates work that is formally beautiful and conceptually rigorous while addressing fundamental issues of communication—such as the acts of delivering and receiving messages (verbal or nonverbal) and the various forms these exchanges may take. She is particularly interested in the role of the artist in conveying messages to audiences and the translation of thought to action, idea to object. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings such as fiesta lights, flags and banners, confetti, and rainbows.
Having grown up in Argentina, Pica is attracted to the limits and failures of language and concerned with what it means to have a platform to speak out from. Her work raises questions about individual versus collective speech in the context of extreme political situations, such as those in 1970s Argentina or present-day Afghanistan, and demonstrates how open communication is a right in some regions of the world and a privilege in others.
I make works to try to think better.
The works often explore the idea of enunciation and the performative nature of thought and speech.
I usually exhibit combinations of autonomous pieces that come together as installations. So the space in between them is just as important as the works themselves. I have a sense that meaning is created by bouncing off each work onto the other. I like to think of my shows as conversations.
Mr. De Dominicis, who was born in Ancona and died in Rome, is widely known as an artist whom few people know much about. He always dressed in black, avoided journalists and rarely allowed his work to be photographed. He fabricated so many myths about his life that when he died many of his admirers thought it was just another fiction, a disappearing act after which he would assume a new identity on another continent.
Throwing the Plate from Very High
Dora Maurer (Budapest, 1937) is a Hungarian artist that has spanned a 50 year career. With an emphasis in photography, film, graphic design, and more, Maurer has made a household name for herself in the art world. Gaining most of her popularity in the 1970s, with avant-garde work, Maurer has made her art career off of contemporary and modern influenced works that have been shown worldwide……….
In Dora Maurer’s work, geometric, mathematical, and conceptual systems all appear. These are the processes in which her mind thinks when creating her art. Dora Maurer explores different cycles in showing things such as simple actions to make the viewer see her art as movement. She simply gives the viewer examples of things she can do with different objects, to make them think about what they would do. All of Maurer’s work displays geometric compositions and designs. She is very methodical with the composition she uses, the images, lines, width of lines, colors, angels, and more. Some of her famous works come from her quassi photos, her series Reversible and Changeable Phases of Movement, and her newest series, Overlappings.
Lernert Engelberts (1977) and Sander Plug (1969)
How To Explain It To My Parents, 50′
11 episodes of monologues about procrastination. Artists, writers and filmmakers
talk about concentration, focus and the fine art of wasting their time.