HUNTING IN THE DARK

  • Elmgreen and Dragset

    Michael Elmgreen born 1961; Copenhagen, Denmark and Ingar Dragset born 1968; Trondheim, Norway are a collaborative duo of visual artists.They live and work together in Berlin, Germany. They are known for work which has wit and subversive humour, and which looks at serious cultural concerns.[1]Elmgreen and Dragset met in 1995 and moved to Berlin in 1997, where they converted a large 100m2 building into a home and studio.[2] Their exhibitions include transforming the Bohen Foundation in New York into a 13th Street Subway Station in 2004, siting a Prada boutique in the middle the Texan desert in 2005, and their The Welfare Show in 2006 at Serpentine Gallery, London, and the Power Plant Contemporary Art Gallery, Toronto, which was critically acclaimed.[1][3][4][5] They won the German Government’s competition in 2003 for a memorial in Tiergarten park in Berlin, in memory of the gay victims of the Nazi regime, which was unveiled in May 2008.[6][7] In 2011 their design Powerless Structures, Fig.101 won a famous annual competition to be displayed on the fourth plinth of London’s Trafalgar Square.[8]

    via Elmgreen and Dragset – Wikipedia, the free encyclopedia.

  • Untitled, 2009 / Mandla Reuter

     

     

    Mandla Reuter | Nieuws.

  • Triangle of reference

     

     

    The triangle of reference also known as the triangle of meaning[1] and the semiotic triangle is a model of how linguistic symbols are related to the objects they represent. The triangle was published in The Meaning of Meaning 1923 by Ogden and Richards.[2] While sometimes known as the “Ogden/Richards triangle” the idea dates back until at least 1810, by Bernard Bolzano, in his Beiträge zu einer begründeteren Darstellung der Mathematik.Ogden semiotic triangle.pngThe relations between the triangular corners may be phrased more precisely in causal terms as follows: 1. The matter evokes the writer’s thought. 2. The writer refers the matter to the symbol. 3. The symbol evokes the reader’s thought. 4. The reader refers the symbol back to the matter.

    via Triangle of reference – Wikipedia, the free encyclopedia.

  • The Second @ Stedelijk Museum Amsterdam ’97

    Voor Aristoteles moet een ‘seconde’ iets geheel anders hebben betekend dan voor ons nu. Omdat er geen objectieve vergelijking kan worden gemaakt, blijft een ‘seconde’ een nogal relatief begrip voor ons in deze tijd, terwijl dat wellicht voor de klassieke mens totaal anders lag. Ons hedendaagse begrip van tijd is nauw verbonden met de technologische ontwikkelingen, die ons in staat stellen om in oneindig kleine of grote tijdseenheden te meten en ons gevoel van werkelijkheid daaraan aan te passen. Maar tijd is niet alleen een relatief, fysiek gegeven: ze kan zich in vele vormen manifesteren. Een astronoom, een bioloog, een historicus en iemand die zich haast om de trein te halen, hebben ieder hun eigen manier om met tijd om te gaan.

     

    Stedelijk Museum Amsterdam.

  • Absence of Mind – The Arcades Project Project or The Rhetoric of Hypertext by Heather Marcelle Crickenberger

    … As an alternative, Benjamin provides architecture as an artistic medium through which one might locate a means of modifying the prevailing aesthetic by modifying the human apparatus of perception. However, even architecture falls into the aesthetic of war as long as it is deemed valuable and is appropriated by the economic system, so in The Arcades Project, he turns his attention to a peculiar architectural construction—the Parisian passages—as a means of locating a structural guide for a kind of generative thought that “is totally useless for fascism” “Work of Art” 218. In The Arcades Project, this apparatus is to be identified with what Benjamin refers to as “the structure of awakening” The Arcades Project 389 [K1,3].

    via Absence of Mind – The Arcades Project Project or The Rhetoric of Hypertext by Heather Marcelle Crickenberger.

  • Wonderful woman /dara birnbaum/ 1978

    [youtube http://www.youtube.com/watch?v=HhMG-QCJVsE&w=600]

  • Deleuze, Bergson, breuken in de tijd

    Bergson beschouwde tijd niet meer als ‘homogene momenten na elkaar’ maar als een heterogeen en door breuken gekenmerkt proces.Deleuze stelt dat er een breuk in de waarneming heeft plaatsgevonden, waarvan de gevolgen voor zowel de productie als de perceptie van cultuur onderzocht moeten worden.Een Deleuzeaanse kunstgeschiedenis wil de differentie benadrukken en aangeven dat sommige kunstwerken een andere context of paradigma nodig hebben.

    via Metropolis M » Magazine » 2004-No3 » Deleuze, Bergson, breuken in de tijd.

  • Drainspotting by Alex Fischer

     

     

    alex fischer drainspotting.

  • Matthias Ballestrem & Anton Burdakov: Built on Promises

     

     

    Built on Promises, the first collaborative project between architect Matthias Ballestrem and artist Anton Burdakov, seeks to question the intimate relationship between experience and image. How does the world of the sensible transmute into the second dimension? Spatial perception and the imagination this gives rise to are questioned in a series of photographic installations developed in and for PROGRAM’s exhibition space. As visitors move about in the exhibition, so too will their frames of perception shift. What exists, what had existed and what might exist become blurred and challenged.

    via this is tomorrow – Matthias Ballestrem & Anton Burdakov: Built on Promises.

  • Sol LeWitt: Artist’s Books

     

     

    The American artist Sol LeWitt 1928 – 2007 was an influential figure in minimalism and is considered one of the most important representatives as well as co-founder of American conceptual art. The term “conceptual art” goes directly back to LeWitt: “If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product. All intervening steps – scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations – are of interest. Those that show the thought process of the artist are sometimes more interesting than the final product.” Paragraphs, Artforum, June 1967

    via this is tomorrow – Sol LeWitt: Artist’s Books.

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