Kris Kuksi, Portrait of a Neo-Roman Empress, 2011
May 8, 2012
April 25, 2012
November 27, 2011
Josephine Meckseper
The Complete History of Postcontemporary Art
2005
(Source: saatchi-gallery.co.uk)
November 6, 2011
Maurizio Cattelan & Pierpaolo Ferrari
October 26, 2011
September 26, 2011
“We don’t touch money.”
“Everyone is frightened of copyright. Ubuweb simply acts like copyright doesn’t exist: we just ignore it. Everything on Ubu is free. We don’t touch money. The site is run by students and volunteers, and our server space and bandwidth is donated by universities. Ubu has discovered an economic gray zone by hosting out-of-print and hard-to-find items that aren’t valuable, economically speaking. It’s mostly artists’ ephemera and although it might not be worth a lot of money, intellectually and historically it’s priceless. The only value of the avant-garde is artistic and political.”
Kenneth Goldsmith, founder of UbuWeb
August 31, 2011
Charlie White, Getting Lindsay Linton, 2001
August 31, 2011
August 19, 2011
August 18, 2011
Manuel Palou, 5 Million Dollars 1 Terabyte, 2011
5 Million Dollars 1 Terabyte is a sculpture consisting of a 1 TB Black External Hard Drive containing $5,000,000 worth of illegally downloaded files. A full list of the files with clickable download links can be found here.
(Rhizome, via deleteyourself)
July 29, 2011
HOIST by Matthew Barney
Part of the Destricted series, 2006
‘Hoist’ describes the encounter between the two central characters of the film; the so-called ‘Green Man’ and a fifty-ton deforestation Caterpillar truck under which he is suspended. Following the three acts of traditional film narrative, it is structured according to the three phases of description, situation and condition.
While the initial two phases relate to the definition of ‘Hoist’ as an “an apparatus or method for lifting a load and shifting it laterally by an elevating means applied through a support from which a flexible member freely suspends a load engager,” the third or final condition of the film suggests the imperfect consummation of the human and the mechanistic.
July 14, 2011
July 14, 2011
July 13, 2011
Martin Kippenberger suggested that painting as a form, while useful, was overrated. To test the response he bought a small gray 1972 monochrome painting by Gerhard Richter, fitted it with metal legs and turned it into a coffee table, which became by default a sculpture and original Kippenberger. The response was strong.
(Source: The New York Times)
