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"Anyag nélkül", Óbudai Társaskör Galéria, 2009 november 17-december 13.
http://szvet.mosaicglobe.com/
talált tükrök és tükörfrekvenciás zavararány
“You would have seen it happen if you hadn’t been looking somewhere else”, 2006 by Mark Geffriaud. In collaboration with Cyrille Maillot. (via vvork)
kép forrása: gb agency, PárizsGalerie Michael Janssen, Berlin
kiállítva ’pixelek’ c. csoportos kiállításon az ernst múzeumban, 2009. jan 18 - febr 08.
Lowas Péter: "Önreflexiós segédeszköz", 2008
Első multiplika show, Liget Galéria, 2008 (http://multiplika2000.wordpress.com/2009/02/)
forrás / source: http://www.photoblog.com/dromidriver/2008/12/20/sat.html
„Croatian filmmaker Ivan Ladislav Galeta is a key figure within structural film. Experimental in the truest sense of the word, his works are months, often years in the planning, all possibilities considered as he explores the medium and its capabilities. Such is his precision that the end results often resemble documentary more than they do the avant-garde; titles and intertitles (even these being exact in terms of font and framing) displaying all possible information, from the nature of the film stock used to the methods undertaken and the times of production. Dry and conceptual, then, but Galetas ultra-awareness of cinema and its processes yields continually intriguing results: TV Ping Pong (the earliest work present) manipulates conventional editing syntax; Two Times in One Space investigates screen space via simple superimpositions.(...)
(Anthony Nield in DVD Times , 21.08.2008 )
More info: http://www.index-dvd.at/php/de/review...”
bővebben róla itt: http://www.e-flux.com/shows/view/6359
installáció a whitechapel galériában, 2001
erről:
„Time and Relative Dimensions in Space (2001) is a mirrored version of the 'Tardis' which featured in the British TV series Dr Who. A 'police box' on the outside, once typical of London streets, the Tardis not only travelled through time and space but its internal dimension dramatically exceeded its exterior. Wallinger's version in polished stainless steel contains four firmly closed doors and offers only a conceptual excursion. The extra dimension is extended through the mirror's surface and into its artificial space, while the object seeks to shrug off its physicality by replicating its surroundings.” forrás: http://www.whitechapel.org/content.php?page_id=3789
még:
The Word in the Desert II., 2000, framed colour photograph, 190 x 154 cm
Satire Sat Here, 1986, oil on canvas, 213.4 x 305 cm
forrás: Anthony Reynolds Gallery, London, http://www.anthonyreynolds.com/home.htm
koncept: Nick Knight and Danny Brown
COREY McCORKLE kiállítása a Maccarone-ban, (New York, http://www.maccarone.net/)
”When a Dog Barks The Response in the Ear of the Sky is a Star”, April 14th - May 12th, 2007.
„On the periphery of metropolitan Istanbul is a dilapidated zoo located within in otherwise pastoral municipal park. Started in the 1980's this project, similar to many other public commissions on the edge of the city, remains incomplete, abandoned. Much of the architecture in the outlying areas of Istanbul is similar, empty cast-concrete shells thrown up in the anticipation of an urban sprawl yet to come. Driving along the highways, one sees these structures, many of which will never be occupied by their intended tenants. They currently function only as monuments to a sort of tragic optimism, a lost cause of expansion, an emblem of coaxed development into suburbia.
Empty zoo shells sometimes house transients, but the string of pavilions and plains of the park are, for the most part, under the exclusive rule of feral dogs. Designed for the domestication and exhibition of the wild and exotic, a holdover from a romantic 19th century idea of naturalism, if not tourism, these abbreviated showcase environments have been overtaken by animals once domesticated, now wild and subsequently territorial: Corey McCorkle's project at maccarone lies where this former ideal meets our current century's urban entropy, which operates on a course from construction to neglect to metamorphosis. It begins at the point the zoo meets its political end - the decommission.
McCorkle's photographic and sculptural installations document these new ruins of urban planning beside the implosion of both nature and culture's milieu, not swaying far from the artist's past investigations of anomalous forgotten space and the dysfunctions therein. A video work similarly captures how the zoo pavilions, intended for entertainment and consumption, have collapsed from supposed civil program to architectural folly for the wild, liberated, and sometimes hostile.
If the cage is no longer a veil of tactful decorum, McCorkle's use of the kilim shifts the documentary to the decorative. As a great mediator between domestic comfort and civic assembly, the material is an emblem of Istanbul's history, garlanded with emporium and its longstanding reputation as an "East/West" depot. A mirrored hallway echoes the absurdity of attempting to contain an infinite nature, collapsing transitional and terminal space.
McCorkle's recently solo exhibitions include Kunsthalle Bern, Switzerland; MC, Los Angeles; Objectif, Antwerp. The artist's work is concurrently on view The Kitchen, NY and Stella Louhaus, Antwerp. A film commission regarding Le Corbusier's Tower of Shadows will be screened in May at The Office of Contemporary Art, Oslo, Norway and New York.”