20111115
Vojin Bakić
Petrova Gora Monument
"Why is saving Petrova Gora important? Former Yugoslav politicians took a stand against the East Block through commissioning art and architecture inspired by American post-war modernism and the neutral visual force of abstract expressionism. For architecture, this ultimately led to an official policy of commissioning memorials based on American modernism. Petrova Gora is one of the clearest examples of this former Yugoslav policy. This object is not just a monument that belongs to one nation or to the expanded former Yugoslav nationalities–Petrova Gora belongs to a much wider and international public. It needs to be protected as an international symbol of anti-fascist resistance on its own ground."
A/N blog
Cirkulacija u prostoru 1, 1970
info
Blue Curry
Untitled (2010) whale vertebra, stool, sequined hat
100 x 20 x 10 cm
Untitled (2010)
customised cement mixer, sun cream
100 x 100 x 130 cm
created for: liverpool biennial
@Toomer Labzda
Artist's Page
20111114
20111110
20111108
20111107
Alberto Burri
Gran Ferro (1958)
Welded iron with paint and nails
78 3/8 x 79
"Combustione L.A.," (1965).Plastic, acrylic, vinavil, combustione on cellotex.
19 1/2 by 15 5/8 in. 49.5 by 39.7 cm.
Ivin Ballen
B Untitled (subduction triangles), 2011
Acrylic and gouache on fiberglass
15 x 16 in
@ Regina Rex
20111106
Parker Ito
The Most Infamous Girl in the History of the Internet / Attractive Student, 2011
Oil and inkjet on canvas
92 x 122 x 4 cm
The Most Infamous Girl in the History of the Internet / Attractive Student, 2011
Oil and inkjet on canvas
92 x 122 x 4 cm
From "New Jpegs" @ Johan Berggren Gallery
Alexandra Bircken
Runner in the Woods, 2011Wood, cloth, mortar, grape stem, copper, pigment and screws
72.4 x 66.9 x 11 inches / 184 x 170 x 28 cm
Twitter, 2011Collaboration with Thomas Brinkmann
Tape machine, tape, microphone, knitting needle
26.4 x 12 x 10 inches / 67 x 30.5 x 25.4 cm
@Kimmerich
20111105
20110511
20110508
20110505
20110430
20110429
20110425
SLIP, SNIP, TRIP
Hannah Weinberger, Google, 2008-2010,
inkjet print, Edition of 3
Ida Ekblad, Wrapped in Silk, 2010,
metal spiderweb wrapped in wooden twiggs, 187 x 235 cm, Unique
@ Karma International
20110420
Rosy Keyser
New Madrid, 2007
Enamel, sawdust, and ink on canvas
90 x 72.5 inches (229 x 184 cm)
Rugburn, Whiskey Back, 2008
Sawdust, enamel, and obsidian on canvas
90 x 72 inches (229 x 183 cm)
@Peter Blum
20110418
Markus Miessen
Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen’s “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change.
Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.
20110413
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20110407
20110406
20110331
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