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»Untitled (Martha Rosler Collage)«, 2001 by Carol Bove.

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Detail from »Hommage à Picasso«, 1995-2006 by Hanne Darboven.

»DEPICTIONS«, 2010 (depictions of Amsterdam and Rotterdam) by Gert Jan Kocken.

“Mirror Abstraction”, 2005 by Carol Bove. Antique crystal ball, gold chain, bronze screws.

»I’m sorry but I don’t want to be an Emperor—that’s not my business—I don’t want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that. We all want to live by each other’s happiness, not by each other’s misery. We don’t want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone. The way of life can be free and beautiful. But we have lost the way. Greed has poisoned men’s souls—has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed but we have shut ourselves in: machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little: More than machinery we need humanity; More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say “Do not despair.” The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress: the hate of men will pass and dictators die and the power they took from the people will return to the people, and so long as men die [now] liberty will never perish.… Soldiers—don’t give yourselves to brutes, men who despise you and enslave you—who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder. Don’t give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines. You are not cattle. You are men. You have the love of humanity in your hearts. You don’t hate—only the unloved hate. Only the unloved and the unnatural. Soldiers—don’t fight for slavery, fight for liberty. In the seventeenth chapter of Saint Luke it is written “the kingdom of God is within man”—not one man, nor a group of men—but in all men—in you, the people. You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let’s use that power—let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfill their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfill that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men’s happiness. Soldiers—in the name of democracy, let us all unite! Look up! Look up! The clouds are lifting—the sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world. A kind new world where men will rise above their hate and brutality. The soul of man has been given wings—and at last he is beginning to fly. He is flying into the rainbow—into the light of hope—into the future, that glorious future that belongs to you, to me and to all of us. Look up. Look up.«, 2005-2006. Charlie Chaplin’s speech from “The Great Dictator”, transposed into sign language, by Jordan Wolfson.

“Composition with My Mother’s Spiritual Manual”, 2002 by Carol Bove.

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“The Wavering Skies” by Germaine Kruip. A slow moving shadow is created by 300 computer-controlled halogen lamps hung above a translucent fabric ceiling.

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»CCKW (counter clockwise)«, 2001. CCKW is an istallation based on a backwards running clock which hangs above a water surface. By Szabolcs KissPal.

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»expedition-bus and shaman-travel« (Double Video-Projection on the Windscreen of a mirrored Campervan), 2002 is a project researching the parallels between ethnography and shamanism using scientific film-footage from the 50s and 60s.

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»Divining Rod Testfield (Scheunenversuch)«, 2003 is a reenactment of a scientific experiment to evaluate the phenomenon of water divination. In the lower floor of a shed of about 20m of length, pipes were installed in such a way that their positions could be altered. through those pipes different quantities of water was pumped. one floor above, the test persons were to estimate the positions of the pipes through water divination. The supervisor of the experiment did not know the exact position of the pipes during the experiments nor did the test persons. the probability of the experiment being a result of pure chance was clearly below 0,5. In a series of further tests with 43 water diviners, 10 person were found to show significant to highly significant test results. The probability to get similar results without assuming a sensitivity of the water diviners, was arround 1500:1 against chance.

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»Marathon«, 2003. By Christoph Keller.

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»Tower of the Prophet«, 2002 by Carol Bove.

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»Portugal-Greece, Final Match 2004« taken from the series »Football Drawings« that show the ball movements during a soccer game as viewed from above.

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»Bubbles Fragment Orange« (2006) by Susken Rosenthal.

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In the installation »Infinite Loop« (2004) a camera is rotated on its side and pointed into a television at close proximity. The camera feeds the image of pixels on the screen back into the TV’s audio and video inputs. The auto focus and auto exposure struggle to gain some coherence expected in an image, but cannot. The result is a fluctuating, oscillating signal.

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In »Thaw« (2004) an empty swimming pool, a large mass of black, volcanic, basalt street bricks is interlaced with bricks of white ice. The cube will fall prey to entropy over the course of approximately 8 hours. The ice bricks fuse together and hold on to the bricks as long as possible, causing the structure to warp and sway pendulously before collapse. The brick cube rests on a steel table and hovers over a mirror, which floats above the floor. The mirror has microphones attached to it, which pick up the stochastic dripping of water and is amplified in the space, counting off the time between collapses. Both projects by Chris Musgrave.

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»Attributing Value (Refractions)« is an ongoing video series documenting various artist’s works. The works are environmentalized and refracted through the structural data of artist Damon Zucconi himself. Sofar completed are Bruce Nauman: 100 Live, 100 Die; Carsten Nicolai: Syn_Chron; Pierre Huyghe: L’Expedition scintillante; Richard Serra: Torqued Ellipse VI; 0100101110101101.org: jodi.org “%20Transfer”.

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»Zenith Alignments«. Using star tracking software, minor zenith alignments with celestial bodies were found to occur at multiple intervals throughout the course of the day over various locations. These precise locations were located via GPS. 3-point areas were located at sites of the zenith alignments. These areas were highlighted and clearings were made to coincide with the alignments. So at the moment of the alignment Damon Zucconi would be exposing the ground and aligning himself with the line that extends to the star. These specific alignments were unique to these specific locations, occurring once an annual cycle. This could largely be seen as the process of integrating himself with 90 degree angles, in turn, demarcating larger phenomenological alignments and relations: “the body mapped onto the land onto the heavens above.”

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»’At’ Asserting its Object Status«. Found sculpture.

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»2d Orthogonal Line Drawing«. Drawing with laser and mirrors. All projects by Damon Zucconi.

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Stuffed birds play records by putting their beak into the groove.

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»loop/loop« is a recordplayer that changes its pitch depending on the walking speed.

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In the instalation »in honour of a new affair«, a needle is installed above each recordplayer that connects the vinyl with the large pieces of paper. The sound of the records are being transported to the paper and the paper makes it audible. The needle constantly changes its position, due to the wind. All three projects by Jeroen Diepenmaat.

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The Man of Speed’s helmet. By Juneau Projects.

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The beauty royale, video installation with sculpted tv, woodchipper and dowel-mounted transducer microphones. A forest, computer system with small pine tree growing in casing.

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Good morning captain, video installation with inkjet prints. A video of a scanner being dragged over a forest floor placed alongside printouts of the resulting scans.

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Mic campfire. Six microphones were suspended above a large campfire in Grizedale Forest. The microphones were lowered into the fire in turn, the sound was relayed on a pa system. A rich future is still ours. A video installation where sheets of paper with attached transducer microphones are fed through a paper shredder.

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Two pop songs, How deep is your Love by the Bee Gees and Love by John Lennon, are acoustically transmitted through 400 feet of tubing through the museum. The songs emanate from the basement’s defunct boiler unit into a tubing system which follow the existing water and electrical pipes, winding through the hallways and stairwells of the building. The songs eventually emit from a funnel which hangs in the gallery space two floors above, leaking sound at points along the route.

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»Can You Hear Me?« is a functional alternative telephone. It uses PVC pipe and mirrors to make an aural and visual communication link from the second floor lobby of the Sunshine Hotel, to the street below. Passers-by on the street can call up through the tube and be heard in the Sunshine’s communal lobby area. Both projects by Julianne Swartz.

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In 2002, Peter Piller was able to procure approximately 20,000 aerial photographs of detached houses from a defunct business venture. The company’s intension was to sell the photographs to the respective house owners. Low- flying aircrafts were employed, between 1979 and 1983, to systematically scan settlements. Peter Piller categorizied the pictures into several series including “Car Wash” shown above.

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In reference to the portraits by Yuta Ukai, Danchez sent us his version of a dot portrait shown above, based on a self programmed flash script. Danchez was inspired by this clip.