Ouroboros Ali Hussaini (US/UK) and Keir Vine (UK)
Ouroboros is a 3D visual collage of vibrating mandalas, exploding galaxies, astronauts and corporate logos, among much more, on six screens, all in the service of reconnecting consciousness and the cosmos.
Ouroboros treats the history of the universe as an animated visual poem. It contains an hour of looping animations, and it uses Chromodepth technology to create strongly holographic images that remain sharp without glasses.
This exhibition presents a series of work by the German artist Julian Rosefeldt produced over the past 15 years.
Deep Gold is based on the Spanish filmmaker Louis Buñuel’s 1930 film L’Âge d’Or. Louis Buñuels wrote the story by following the surrealistic method of automatic writing. It caused quite a scandal in its day.
The Swap seems like a cliche of a gangster film. A scene describes a meeting between two groups of gangsters in a container terminal changing suitcases. The actors are performing a precise choreography without saying a single word. Some movements are repeated which strengthen the connection to a dance, mostly modern dance because of the use of contraction and release. The combination of modern dance and gangsters is quite funny but it also creates a focus on how we move around each other in a given situation as human.
This work expand my understanding of video installation, I was pleased and surprised by the life and presence the installation expressed.
From the catalog:
Sarah Sze’s installation Timekeeper (2016) explores the origin of the moving image, and mirrors the endless flow of information that overwhelms us every day. Screens flicker and fade, and projected images race cyclically around the room. A whirring, clicking world of objects is arranged in accordance with a specific logic: that of a working desk, a site of the studio. Formed in part from the remnants of the actual editing desk where the work was made, Timekeeper is simultaneously a sculptural installation and a functional tool: a projector itself.
Sze’s sprawling sculptures are not definitively delineated in space, a contrast to the traditional concept of sculpture where the work is distinct and can be isolated from its surroundings. For this reason, many of Sze’s sculptures appear like works in progress: when you encounter the work it feels as if the artist has only just stepped out of the room for a minute, making us wonder whether the work is still under construction or perhaps being dismantled.
One of the recurring traits of Sze’s work is her interest in time. However, Sze does not work with the usual chronological and mechanical concept of time as something that can be measured and recorded; rather, she explores time as something that arises out of the unpredictable ways in which the images and experiences of everyday life affect our sense of time passing.
Science seeks to define time by measuring it down to the smallest nanosecond, and we live our lives in accordance with this approach. Timekeeper challenges such an objective view, creating instead a perception of time in which experiences and frames of reference are brought into play upon encountering the work. Taking the form of a three-dimensional collage, Timekeeper holds and hides moments and memories that can be re-experienced across time and place by each individual who visits.
About Sarah Sze
Sarah Sze (b. 1969) lives and works in New York, USA. She represented the USA at the 2013 Venice Biennial, and was a 2003 MacArthur Fellow. Sze has exhibited her work at museums throughout the world, and her work is held in the collections of prominent institutions such as the Museum of Modern Art in New York, Guggenheim Museum in New York, Fondation Cartier in Paris, Museum of Contemporary Art in Chicago, San Francisco Museum of Modern Art and Museum of Modern Art in Los Angeles.
SMK, National Gallery of Denmark
Yesterday I went to SMK, just to see if there were any artworks of Wilhelm Freddie (the surrealistic artist which suitcase I found).
The museum was under renovation, so the artworks of WF was moved to a small room with the headline ” Un-realities.”
One of the paintings was new to me; “The Dancer,” from 1943. It was little and, was rougher made than the others. It reminds me of David Lynch’s painting style in its motive, composition, and texture.
“The Dancer” was the painting I liked most. When WF’s painting is very detailed and accurate painted it makes me feel uncomfortable (which is probably the intention).
At home I googled the painting, to get further information. I read that the SMK’s conservators had struggled with the little masterpiece, when they got it in 2011, because of its bad condition.
Artnode at Den Frie
Artnode is a non-commercial foundation. Their aim is to supply contemporary art with a digital outlet and thus support international contacts.
Artnode plans create and distribute contemporary art projects in current and upcoming digital media. The foundation aims at developing and supporting projects, using these new media as artistic platforms – not just as distribution channels.
Artnode currently presents more than 100 artists.
To be familiar with Artnode has become a kind of an eye opener for me. They have been working in the field of internet-art since 1995.
The exhibition itself showed six different projects. It was not a big visual experience, but reading about the concepts told me that here is really something to dive into.
In 2008 Artnode published the 500+ pages anthology “Vi elsker din computer” (We Love your Computer) comprising 36 historical key texts on t net art that Artnode love and continue to find inspiring.
In the basement, I bought the book; it is in Danish and therefore easy to read and understand.
I read an interesting text of Tilman Baumgätel: “Net Art. On the History of Artistic Work with Telecommunication.
TB talks about; galleries without walls, and a art project from 1977 which was a kind of Skype (Satellite Arts Project by Kit Galloway and Sherrie Rabinowitz), a project initiated by John Cage which has a reference to nowadays crowdsourcing, just to remind some of the artists he is talking about.
Lonely Old Slogans
Louisiana Museum of Modern Art
Next to this picture of Daniel Richter, I found this text:
“I move in three different fields: the there are pictures that come out of dealing with themes or issues, that is, an attempt to paint historical or contemporary themes. These are, so to speak, history painting.
Then there are pictures that emerge from found materials and live because they rise above the unambiguity of the materials, often journalistic photographs, and become something else.
Finally, there are the pictures that are representations of dream states – pictures that cannot really give a reason for but that are almost surrealistic… I think it’s true that my pictures move in these different fields, although my categorization may be pushing it a bit.”
Daniel Richter, 2006
Title of the picture: Studie zu Das erstaunliche Comeback des Dr. Freud
Structures of Existence: The Cells
Louisiana Museum of Modern Art.