Mathieu Tremblin als “Graffiti-Statue”: “Dépêchez-vous, je dois finir avant que la police arrive (Hurry up I have to finish before cops arrive)”, 2012, Quimper
Und David Renault als Luftablasser: “Dernier Souffle (Last Breath)”, 2012, Quimper
Neue Arbeiten von den Brüdern Ripoulain aka Mathieu Tremblin & David Renault – entstanden während der Künstlerresidenz “1+1=1 1+1=2″ von Art4Context in Quimper. Via: Mail
Yeah, OX is back – los geht´s in diesem Jahr mit einer wunderbaren “Fake Self Promotion”. Via: Mail, merci!
“Manifest Destiny! is about our God-given imperative as modern explorers, to seek out parcels of unclaimed territory and boldly establish a new home front in the remaining urban voids of San Francisco. Manifest Destiny! is a temporary rustic cabin occupying one of the last remaining unclaimed spaces of downtown San Francisco – above and between other properties. The cabin is affixed to the side of the Hotel des Arts, floating above the restaurant Le Central like an anomalous outgrowth of the contemporary streetscape. Using a 19th-century architectural style and vintage building materials, the structure is both homage to the romantic spirit of the Western Myth and a commentary on the arrogance of Westward expansion. The interior space of the tiny house can be seen day and night through the curtained windows, a lonely beacon in the city’s dense landscape, and an incongruous, haunting vision from below. The installation will remain in place and be slowly transformed by the elements through October 2012.”
“Blue Birds”
“Stair Squares”
Mark Reigelman, Künstler/Designer aus New York. “Manifest Destiny!” erinnert an das “Rucksackhaus” von Stefan Eberstadt bzw. den “Parasiten” von Korteknie Stuhlmacher Architecten, trotzdem wunderbar. Via
Kurt Perschke hinterlässt auf der ganzen Welt seine roten Bälle: “Through the RedBall Project I utilize my opportunity as an artist to be a catalyst for new encounters within the everyday. Through the magnetic, playful, and charismatic nature of the RedBall the work is able to access the imagination embedded in all of us. On the surface, the experience seems to be about the ball itself as an object, but the true power of the project is what it can create for those who experience it. It opens a doorway to imagine what if? As RedBall travels around the world people approach me on the street with excited suggestions about where to put it in their city. In that moment the person is not a spectator but a participant in the act of imagination. I have witnessed it across continents, diverse age spans, cultures, and languages, always issuing an invitation. That invitation to engage, to collectively imagine, is the true essence of the RedBall Project.” Via/Via
“Smashing” (2005) is simple, almost elementary. An elegantly dressed man is sitting behind a school desk. Just like in an infinitely long procession, a series of guys and girls, presumably students, enter into the space, each one carrying a different object. The man – Jimmie Durham – takes the object and flings it, bangs it, shatters it or smashes it on the desk, more or less violently.
“Still Life With Stone & Car”, 2004
“Stoning the Refrigerator”, 1996
Ein Stein, den Durham angeblich aus dem Haus des französischen Poeten François Villon entfernte, und gegen eine Museumsvitrine warf: “A Stone from François Villon’s House”, 1996/2009
Entdeckt im Pariser Museum für zeitgenössische Kunst: “Jimmie Durham ist Dichter, Performer und bildender Künstler. Er selbst bezeichnet sich als jemanden, der Verhaltensweisen und Normen des Zusammenlebens in verschiedenen Gesellschaften beschreibt. In Skulpturen, Assemblagen, Zeichnungen, Texten und Installationen thematisiert er kulturelles Verhalten, den Umgang mit Natur, und seinen eigenen Standpunkt dazu.”
“The Kiss 2007/2010″: “The Kiss” was given to the MoMA as a donation without asking for permission. I entered the museum as a regular visitor and gave an intense French kiss to the wall. Next to the invisible kiss I then fixed a fake label, which simulated the style of a regular MoMA caption.
“Everyones’ Best Friends 2009″: Cutouts of banknote-portraits from eight different currencies.
“My Most Favourite Art 2004 – 2011″: MY MOST FAVOURITE ART is an installation made of exhibition plates, which I`ve stolen and collected from different galeries and museums since 2004. Only criterion for the theft of a plate is my fascination for the work which belongs to it.
“untitled 2008″: Homeless people are often locked out from the society. Especially in shoppingmalls and shoppingstreets they often get displaced and are segregated from the rest of the world. To demonstrate this unfairness I closed away the sleeping place of a homeless person with the logos of the consumers-society.
We ♥ Maria Anwander, * 1980 in Bregenz, lebt und arbeitet in Wien. Via
Interventionen von Fra Biancoshock in Italien. “When I first read on the newspapers that drawing dumb robots on walls was the same as being a contemporary Giotto, I fully understood how far Biancoshock fell from being an artist. And further still, from being a street artist. My “experiences” are not showcases to promote my activities, they do not require any description and they are NOT artworks: they are simply opportunities to communicate and provoke reactions from common people. I’m talking about all those who, although with little or any artistic education, still want to be surprised and moved by something that was left on the street for all to see.”
Neue Arbeit von Elfo: “All you can eat” in Kooperation mit Fra Biancoshock in Mailand, ein Kommentar zur italienischen Finanzkrise.
Eisgirlanden, Eismalerei und gefrorene Kleidung: Ja, es ist noch immer eiskalt in Berlin. Neue Arbeiten der Stiftung Freizeit.
