Research Assignment body of work

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Richard Mosse - It Was A Pleasure Then (2014)

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Richard Mosse - It Was A Pleasure Then (2014)

Richard Mosse: The Impossible Image

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THIS BLEW MY MIND

S.M.A.K.

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"Berlinde De Bruyckere did not ask J.M. Coetzee to contemplate on her work as would normally be expected from a curator. Her request to him was to provide a parallel text, a juxtaposition that reveals the connection between both oeuvres. He sent her ‘The Old Woman and The Cats’, an unpublished text that she absorbed and gradually translated into the work. During the working process, a correspondence arose between the artist and the author. She described the entire process meticulously. He sent her his thoughts, associations, suggestions and a text about the title ‘Kreupelhout – Cripplewood’. Due to the actual physical distance (Coetzee lives on the other side of the world), this correspondence was their only means to communicate. Through their letters they circled around the work, ‘sculpting’ it in words". 

ISEA2010 RUHR Exhibition | ISEA2010 RUHR

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Inhale-Exhale by Terike Haapoja translates the chemical breakdowns of a coffin filled with organic matter into sound, creating a living piece that breathes loudly.

THINSPIRATION *FANZINE

This is cool because she did an epilogue where she rephotographed her original photographs and recontextualised them in a real-world space.

http://vimeo.com/67310447 brillliant artwork by nicola costantinto at the venice biennale. an homage to eva peron.

History Zero - Stefanos Tsivopoulos

In this, film and archive are parallel and complementary conceptualizations of the central topic of History Zero which is the complex, ever-changing and class-determined relationship we entertain to money, and the mechanisms by which value is attributed, added, and taken away. Useless scrap metal acquires the value of gold to the poor immigrant, banknotes acquire the decorative value of paper flowers in the hands, and mind, of the rich old collector, while an accidental discovery by the artist could obtain irrational surplus value.

The film, as a living archive of the future, records the discontinuity, the ruptures and the complexity of the present economic regime and the contradictions of human experience within it. It establishes new spaces for the imagination and for memory in which three mutually exclusive states of mind take shape. Each story contains an element which must be subverted in order for the next story to take place. The reversal of the collector’s ‘logical’ relationship to objects permits the ‘salvation’ of the immigrant and the realization of his dream, but only when he reverses his survival strategy. For the artist, the “resignification” of his chance find, his objet trouvé, asserts modernist artistic practice as assuming power over meaning. Constant conceptual reversals and transgressions of meaning thus make it possible for the film sequence to continue.

- Syrago Tsiara Thessaloniki (March 2013, “On the Surplus Value of a Dream”

one experiment from today plus two edits i made last year 

"You’ve all got the wrong idea about life. Man is a machine. It burns fuel. It moves and it creates heat. As long as you burn fuel, you’re alive. Heat and fire: that’s the principle, that’s biology. It’s not what you think. You’re wrong. You can only see yourself when you’re surrounded by other people. That’s the only time you can see anything. You want to be reflected in other people. You imagine you can see something of yourself and you think that means that you exist. That’s crap. All you can see are other people. Your self disappears. You water yourself down until you disappear. And then you can’t distinguish between yourself and the others."

Kurt, “Fireface”, by Marius von Mayerberg (translated by Maja Zade)