Sunday, 24 February 2008
ARTISTS: Ozlem Altin and Olivier Maarschalk
TITLE: Freunde and Futter
DESCRIPTION: Booklet by Ozlem Altin, published by Orient Press, Berlin 2008 plus music-collage animals by Olivier Maarschalk
Freunde and Futter is a collaborative work by Ozlem Altin and Olivier Maarschalk. The booklet playfully explores topics such as relationships, friendship and love. For the music-collage, Olivier selected titles from his record collection which are associated with animals in one way or another.
ARTISTS: Haris Epaminonda and Daniel Gustav Cramer
TITLE: Infinite Library
A proposal which outlines the amalgamation of two books by reassembling and merging them together, which results in two new unique entities. This proposition will in effect, once hypothetically executed on all existing books to date, shift the authorship from the maker to the book itself.
- Haris Epaminonda and Daniel Gustav Cramer
ARTIST: Pietro Sanguineti
TITLE: www_serie a_2007 (sketches for sculptures)
MEDIA/DESCRIPTION: Digital images found on the web while looking for ideas for new sculptures
The images are intended as a conceptual ensemble of sculptures. I understand them as sketches of ready-made sculptures to be re-realized, at a given time.
Language is the main subject of my digital films, images, sculptures and installations. Language appears as image. My basic tool is the computer. One of the focal points of my work is the relation between language and image on the one hand, and real space and (its) digital simulation on the other. I understand real space as layers of surfaces. As my concept of real space is "flat", my concept of the image is sculptural. I am fascinated by the glamorous seduction and artificial beauty created by our contemporary society of high definition spectacle. I am not interested in the analysis of forms of the real, but the real forms of the media. For the continuous production of surfaces, necessary to mediate and regenerate capitalist ideology, a huge repertoire of materialization is used and invented to give those concepts a meaningful visual form. Pure language and the immateriality of meaning was an (ideological) presumption of the protagonists of historical Concept Art. They obscured the disturbing differences produced by "dirty" materiality, unavoidable to give language an appearance. In contrast to Concept Art I am interested in that "dirt" and happy to make use of the return ticket: from language back to the image. Visual complexity creates differences vis-à-vis the 'original' meaning of the words themselves, that can only be sublated by additonal linguistic operations. With the shifting of the referential frame(s), image, language and object start to lack their established stability. What you see is what you see. Not.
- Pietro Sanguineti
ARTIST: The Metropolitan Complex (Sarah Pierce)
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