COFFEE AND DONUTS: Utilizing this former Mission Police Station as a set, Chris Sollars will activate the former station through actions and video. Southern Machine Exposure Project is a project developed by Southern Exposure (San Francisco) and Machine Project (Los Angeles), involving 20 combinations of artists and performers from LA and SF, presented off-site in 20 homes in the Bay Area over 20 consecutive days from June 11 - 30. source: Southern Exposure (SoEx)
COFFEE AND DONUTS promo (02:28) push play or go tovimeo
Ciprian Muresan’s ‘Communism never happened’ describes the facets of a complex anachronism, a rapport between time and history where they accelerate and decelerate past each other, where the former hemorrhages and the latter is overabundant. It is the definitive answer to Winston Churchill’s observation that Eastern Europe has produced more history than it could consume, and it simultaneously states that Eastern Europe will never cease to aspire to a place in what it projects to be the grander, subtler map of things geopolitical. Its relationship to facts, statistics and painful recollections, replicates the relationship between communism, liberalism and the idea of historical catastrophe in the Eastern political imaginary. Bound up with the certainty that communism certainly happened, it mirrors the way in which post-communism and globalization endlessly complicate each other. source: monumenttotransformation
No doubt, Paule Hammer is a painter. Yet often, the two dimensions of a sheet of paper or canvas are insufficient to express his idiosyncratically enigmatic designs of the world. If that is the case, he makes use of space: a wooden shack is packed with portraits of Elvis, Marilyn Monroe, Johnny Cash, Hannelore Kohl, the protagonists from Planet of The Apes. It is covered with the jackets and trousers awarded to honour glam-rockers and with mutant hub cap shields. Conceived as a gigantic 3-dimensional painting, Hammer called this installation Walhalla (2002). Although lacking gold leaf, it radiated with the power of religious icon painting.
Laden für Nichts
An acute awareness of the contradictory relationship between human need an desire is at the heart of Jana Sterbak's art. A contradiction which weaves itself into a dialectic between autonomy and dependency throughout her work. Sterbak was born in Prague in 1955, and old enough, in 1966, to remember the election by the peoples' party of the radical political leader Alexander Dubcek. But with the imposition of Russian state capitalism in 1968, Sterbak moved with her family to Toronto, Canada, to a very different political agenda. What Canada and Czechoslovakia both offered Sterbak was an experience of colonised identity, political in the case of Czechoslovakia, which for centuries had been under the domination of various foreign powers, and cultural and economic in the case of Canada. Not surprisingly, the theme of constraint, imposed both from within and without, would become a major preoccupation in the development of her work.
The desire to transcend our biological condition, with its innate organic needs, has been systematically scrutinised. In the field of psychoanalytic discourse Jacques Lacan has pointed out: The object of human desire is neither the object which saturates a need nor a fixed and pre-established object of instinct; it is properly speaking their negation. It is the ‘Unnatural’ object of the desiring subject who metaphysically transcends, transgresses and exceeds every corporeal or vital ‘given’.
source: Clement Page
Making of Vanitas: Flesh Dress for an Albino Anorectic (05:01) push play or go toyoutube
Artist and UCL alumna Luis Gispert sees his work situated at an intersection of certain arcane aesthetic ideals, notions of the constructed photographic image, and an interest in concepts of the picturesque and sublime in landscape photography. Unlike a number of his fellow artists, however, he has no interest in a seamless weave; on the contrary, it’s the rough seams that give the work its vigour. Gispert puts the viewer in the back seat of richly upholstered cars or trucks and takes us off on a ride through the Californian desert and the Grand Tetons. Or so it would appear. It’s hard not to think of these interiors as a video game, but fact is stranger than fiction, and facts they are – of a kind.
Artist and UCL alumna Katie Paterson, the first artist-in-residence at the UCL Astrophysics Group, is exhibiting work inspired by the programme in several international galleries.
During the residency supported by the Leverhulme Trust, Katie has been exploring ideas of star death and birth, dark matter and gamma-ray bursts. Katie said: “It’s an honour to work closely with such leading scientists. The residency provides great opportunities for interdisciplinary thinking and innovative collaboration, allowing me to pursue my deep interest in the cosmos.”
Professor Ofer Lahav, Head of the Astrophysics Group, added: “We’re all astronomers, so we look at things in a particular way and methodology. Having Katie in the corridor has brought a whole new life to the place. Seeing her interacting with students and staff, getting ideas and giving us some ideas has been very fruitful.”
source: University College London
The psychological engagement with space and the body, uncanniness and unease, lack as well as the irrational depths of individual and collective being are themes that run through the work of Markus Schinwald (born in 1973). The starting point here is the human body in all its imperfection. In Schinwald’s photographs, sculptures, and film using borrowings from the performative arts, such as theater and dance, they become the projection surface for psychologically-charged interior worlds that permanently seek an outlet for expression and manifest themselves there. With subtle interventions, attributes, and manipulations, like vague apparatuses and prosthetic accessories, the apparently fixed bodies are given a disturbing physical surface. The scenarios that Schinwald develops follow no linear narration with beginning and end, but circulate obsessively and repetitively around a thematic center. These stagings, on first glance minimal and cold, condense to form a complex web of effects that allow for several possibilities and stories that feed on our collective memory.