A bag with the shells of sunflower seeds that were secretly chewed by
Stefan Klein at the opening of Ai Wei Wei’s exhibition at the Tate Gallery
in 2010 smuggeled in the Berlin Biennale and secretly presented in
the palm of the museum guard during the opening hours.
Presented at the Berlin Biennale 2016
(Curated by Iva Kirova)
I was walking through Stadtpark in Graz, and met a lot of sculptures of famous Austrian cultural figures. I decided to replace two sculptures and observe the reaction of the citizens.
During the month, the sculptures were on different pedestals and no one noticed the substitution.
Thomas Geiger lives and works in Vienna. His interdisciplinary work originates from the interaction with the public space. On some occasions the artist appears as observer, in others he takes action himself. He shifts the perspective on existing situations through minimal activities, uncovering hidden social structures. He is co-founder of the Mark Pezinger publishing house for artists’ books, initiator of the Kunsthalle3000 (an institution as intervention in public space) as well as the Festival of Minimal Actions (a festival for ephemeral actions and interventions). (text from website Sperling-munich.com)
Today is Election Day in the Netherlands.
Let’s face it, things can go really wrong.
That is why I buried storages of emergency supplies at various places in the Netherlands.
Yesterday I buried 40 liters of water at the location 52.185898, 5.234631.
If needed, you are free to use this deposit.
Black is an enigmatic concept. Yohji Yamamoto once said about it: “Black says: I don’t bother you – don’t bother me.”
Black contradicts, negates itself on every turn.
Black is many things – absence of color, combination of all colors, suspension of vision caused by light deprivation, empty nothingness. Black is a color that is not really a color but something else. Its ambiguous simplicity and austerity spawns numerous interpretations. And so on and so forth.
What is black in the comic panel? It has numerous functions – it is an indicator of withhold information, sign of a passage of time, aesthetic narrative trick, formal cut-off, a segue, etc. It is almost never just a black panel. But what if all those black panels are take out of their original context? What they will represent?
They will depict nothing, except the blackness. Black panel out of context represent an anomaly with an ambition to represent only what the viewer can think out of it. You can see the nuances of the image – its pixelization due to image format, the way the strokes covered the panel, etc. The panel transforms while being watched. Its blackness disappears and instead something else emerges.
dear Frans. i wanted to tell you a story. it was an accident but it was fun. i was walking in a park and found an amazing dry flower – like a thistle. huge and heavy. so i took it with me and walked with it in the city. then i was meeting a friend to go to an exhibition at White Cube (Anselm Kiefer ‘Walhalla’)
we came to the exhibition and i suddenly realised that my flower looked like part of the display! there were a lot of similar dry flowers and all sort of branches there as part of installations
and so then suddenly it almost was confusing wether i have stolen part of an installation or something. i had 3 gallery invigilators coming to me and asking me where i got my flower
and also just most of the visitors staring or glancing at my flower
it was very confusing and curious
gave me an idea to be coming to exhibitions with items that look like they could have been stolen from the exhibition.
just wanted to share this with you
a personal message, published with permission Alisa Oleva
Every day during skulptur projekte münster 07 – that is on 107 occasions – a man will drive a forklift to the Westfälischer Kunstverein, step off the vehicle, go inside the building, and use a password to activate a computer program that will inform him, by means of a random generator, how many stones he has to take to a certain location in the city. The man will find his payload in the courtyard of the LWL-Landesmuseum, use the forklift to take it to the allotted place, and then make a photograph of the pile of stones. When he returns to the Kunstverein, he will post the image online for all to see.
A fake mole has been tatooed on the back of the artist.
This image of a fake beauty spot-tattoo is mingling with others real beauty spot already present on the artist’s body. This image is as much a «trompe-l’oeil» as a «trompe-body», invisible for the unaware eye, simulating the naturel and creating a mix between fakeness and reality.
This image is made to be forgotten, integrating itself to its surrounding and becoming, almost, natural.