VeroniKa Spierenburg

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works from other artists



I am so glad to came across  Roman Signer website.
This is a photograph of Roman Signer in 1973 taken in Arizona.
Click  here  to see his website.
 





Wolf Vostell





Tide (Darren Almond, 2008) consists of a wall of six hundred digital clocks marking real time. This piece was shown at the Parasol Unit and hold my interests. After one minute the 600 clocks are changing and the time hits you right in your own body. A very powerful piece to stand in front of it.
 





Tino Sehgals work would have an interesting platform in the future on youtube because of all the people taking in secret videos. How would be his approach to this youtube-circulation of his works? His "staged situations" cannot involve the transformation of any material. This is a video I found on youtube about the work " this is contemporary". have a look here





poster project of Swiss artist David Renggli in 2005.
have a look here





At the 14th International Contemporary Art Fair in Zurich, I saw some work of Markus Uhr that got my attention. Especially his many (!) artbooks he already produced are very interesting. Have a look on his website here





Leandro Erlich:  Around that time, I was invited to several international biennials and realized that the best way to approach this type of exhibition was to play with context. I decided to engage the social, political, and geographical context of Havana, rather than deny it. I collaborated with Judi Werthein, a fellow Argentinean artist, to build a fake landscape that would never exist in the Caribbean. By photographing Cubans in a snowy environment, we were able to metaphorically transport them to a place that most had never visited. Few Cubans are allowed to leave the country, so the participants found the project somewhat ironic. They would leave the set with a Polaroid and jokingly say, "Look, I've been skiing in Switzerland."

see more wor of him here





"While We Were Holding It Together ", a theater production of Ivana Müller, creates images in becoming, always changing, depending on who is looking. Is it a rock band on tour? A picnic in the forest? A hotel room in Bangkok? We look, imagine and reinvent while searching for what is hidden and for what we want to see. The piece negotiates the relationship between imaginary and physical, personal and collective, position of performer and position of spectator. 
see youtube video here





Going tomorrow the first time to New York remembers me about the film of Babette Mangolie called :THE CAMERA: JE or LA camera: I, I have seen last year at the Whitechapel Gallery. The film was done in 1975 in New York City and examines the power relations inherent in the construction of both still and moving images, folding one medium inside the other. Mangolte constructs a narrative around her taking photographs of a series of models as she instructs them how to pose. We watch as the models, more accustomed to the still camera, become increasingly self-conscious on film, evoking a sense of empathy and anxiety in the viewer.

“Going back and forth between observation and sentiment or imagination, the film is a self-portrait of the photographer-filmmaker during the years 1976-1977.” - BM

See her website here





Wolfang Tillmans is busy with his website. Some pages are still under construction but it looks promising.
Nice how he divided his bio/biblio in " very short, short, medium, full" sections.
click here to see the website.





Zimoun, born 1977, is an installation and sound artist from Switzerland and also founder of
«leerraum [ ]», a label and network of artists who explore space, time, void, form and structure based on reductive principles and careful yet radical use of materials. 2005 and 2006 Zimoun presented through the label leerraum [ ] 25 sound installations of international artist in their own showrooms at the centre for culture production called “Progr” (Bern, Switzerland), and since 2003 has published over 30 CDs, DVDs and obscure objects of the artists involved.

Since 2004 Zimoun has collaborated with the artist Pe Lang on their joint project «untitled sound objects», which is based on work where materials are made to sound by making them vibrate, and on the related investigation of sound, material, resonance properties and generative systems. 
check here the website





[...]
In a number of works artist Shahrya Nashat has addressed how the museum as an instrument of power shapes the meaning of art. The Regulating Line (2005) is another example of his consideration of this: "When dealing with any institution, you also subject yourself to its rules and mechanisms of power. When I was invited to the 2005 Venice Biennale, I asked myself, how do you create art in the context of a national pavilion, with its cultural implications and indexes of identity? So I decided to make a video at the Louvre, in the art world’s holiest of holies. It was rather amusing getting a guy to take off his shirt and do a handstand in front of a Rubens. But at the same time this parasitical approach allowed me to storm the structure of the place, to breech the economy within which the museum functions."
[....]
Mirjam Varadinis, 2008
 
see more images of the video here





I met the Swiss artist Shahryar Nashat 2 years ago in Beijing while he did his residency. He wasn't keen on eating chinese food, so we had dinner at a Pizzeria. Perspectives #1-#24 is a series he showed at the Elisabeth Kaufmann Gallery in Zürich 2006.
about the series:
Taken from the Internet, the act of making the photo prints is missing. By using an outmostly anony-
mous source and displaying the optical constitution of a colour print, the image discloses its material
consistency which allows it to unmask the illusion of comfortably consumable facts. The images
are oscillating between aphoristic text and image, creating a very associative capacity. This leads
away from what is called “objective information” – often foisted on photographs. Nashat suggests
that the association with another image or with language is the aspect that makes an image really 
challenging. [...]
Denise Frey
 


Have a look here
 
 
 





work from Harm van den Dorpel called "sleepwalker"
see video here





I admire Ryan Gander's work and  he is one of the few I can tell he will be a star one day.
I just came across this article saying:
Taped to the wall of my studio is an A4 photocopy of a short ten-point manifesto by Fischli/Weiss entitled How to work better. I don't know who put it there, but it has been in place for at least three years. It's a tongue-in-cheek work using a motivational statement, which is a piece of found text they subsequently enlarged and had painted on the exterior of a building as part of a public commission. I sometimes show it to students at the beginning of slide lectures, and always point it out to assistants who come to the studio.
I like it quite simply because it acknowledges their awareness of the idea of practice rather than production, which indirectly points to the main aspect of what they do that I find really endearing. It's relatively easy to stumble around making a successful work now and again, sandwiched between disasters that never leave the studio, but it's hard to attain good practice. Their's isn't about making good artworks, but about how to mould the conditions for artworks to be made possible. Although I was asked to talk about a piece that I am interested in, it seems wrong to look at a singular thing when it is so apparent that their approach to working could be interpreted as a work unto itself.
The "Fischli/Weiss Practice" is a trajectory or a path that one could marvel at: swerving madly but not out of control, considered but swift, valiant and stealthy. The spectator can't always easily follow this path, never quite being able to understand how one piece arrived directly after another.With the artists' knowledge of how ideas evolve it would make sense, but for us the gaps are simply too great, filling each encounter with a new work with revelation. If I were to illustrate their diversity of practice and its consequence, among my examples would be Kitty (2001), The Right Way (1983) and Untitled - Two Identical Groups (1996). Their steps forward are on their own terms - terms only they can understand. I wish I had their ability to turn my hand to anything, ideas in front of me and nothing but art history behind. I am a fan.
Back to the manifesto on my studio wall. I read it daily, but I have often forgotten that this photocopy is their work. It has sort of moved beyond being something that I can put their name to, and has gone full circle and come back to being just one of countless other amazing things that exist in the world. Similarly, although I'm a fan, I often confuse many of the works of Fischli/Weiss with those of other artists. Their lack of stylistic signature and their snaking objectives make their art kind of slippery and hard to get a hold of: a land mine for curators, a grenade about to go off. That really makes me smile, because when you think you have it in your clutches, they are off somewhere new to try something else.





This poster from Julia Born is for some time past on my wall and I love it every time more when I look at it. The poster can be turned and the word left would be on the right side, right left, up up and down down.





I was overwhelmed by the exhibition Tadeusz Kantor at the Migros Museum. I spent two afternoons watching his films and documentaries. Kantor is one of the most fascinating person ever.
Kantor: " It is not possible to explain art"





San Keller works is fantastic. I just discovered him recently when I walked into the Gallery Brigitte Weiss in Zürich. She showed me his portfolio and preferably I would had taken it at home to read everything. He lives in Bern and because there isn't a big scene of museums/ galleries, he organised his own museum in his parent's appartement. Click here to see his museum.
In the picture you see a work called : Schreiben Sie dem Kunstbetrachter einen Liebesbrief! ( write a loveletter to the art spectator)






Stefan Burger's new exhibition a the Coalmine in Winterthur, Switzerland





Nina Beier and Marie Lund are two artists from Denmark working collaboratively since 2003. They develop the means to create new ways of producing, thinking, acting, speaking and imagining.
At the Kunstverein Braunschweig, they present their new exhibition: a circular play.

An actor performs a play on a specially constructed stage. A stenographer sits opposite on a similar construction and notes down everything being said and done in a script format. The actor performs the new script and his performance is noted down repeatedly.






great website of Maison Martin Margiela.  Especially I have been taken with the video of the turning poulet in the oven with the sound of the barrel organ. Also interesting is that Martin Margiela avoids the contact to the press - no photographs, no interviews.

Click here to see the page





Have a look at the work from performers and directors Anne Rooschüz and Karen Røise Kielland here






Christian Marclay did a performance called 'Screenplay', a moving image musical score in which found film footage is combined with computer animation to create a visual projection, to be interpreted  by live musicians in an evening length performance.


“I composed a silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop. Moving images and graphics give musicians visual cues suggesting emotion, energy, rhythm, pitch, volume, and duration. I believe in the power of images to evoke sound.” Christian Marclay





The current exhibition by Peter Kilchmann Gallery in Zurich is showing a solo show of artist Jorge Macchi. It is worse to go and sit there for 20 min to experience his work "twilight", a collaboration with the musician Edgardo Rudnitzky. - press release: In this capacious installation a light bulb slides down a stretched wire until it reaches the opposite corner of the room. As the bulb travels across the space for a period of twenty minutes, the light will gradually dim. At the same time a musical piece is listened from a speaker mounted at the beginning of the course, the black out coinciding with the end of the piece. In the beginning a musician plays on a glass harmonica all the notes following a score composed by Edgardo Rudnitzky. In one moment the musician doesn’t play anymore one note, for example C. In this moment the resonance of the note C starts to be listened from the other angle of the room where there is a second speaker. In the end of the piece the musician plays just one note and from the other angle the overlay of all the notes can be heard. Music evolves to noise at the same time light evolves to darkness; the things we can clearly perceive in the beginning are blurred and disappear in the end of the piece. (This installation was exhibited for the first time in "Firstsite", University of Essex, England, 2006).





Andre Avelas sound installation plus performance at the Kunsthalle in Basel.
check his website here





A web based art project by Manon de Boer that is in continuous development and will be on the net for 18 months. have a look here






Maze de boer with his work 'opgelucht gestemd'. A Piano is hanging in the air on its own strings. more pics here

 





Different structures of the subway systems in cities. I like how they look like spiderwebs and it makes you think of how it comes to have those structures.
click here
 





new capricious magazine is out. check it out here





interesting video of Anu Vahtra, have a look here





an image from the series 'die welt entdecken' (to discover the world) from the artist Isabelle Krieg. see the whole series here





new interesting website from Tania Theodorou, check here





Ryan Gander , Oxidised Silver on Paper
An 8 x 10 inch contact print photograph showing a close-up of the world’s‘blackest black’ paint, produced by a team of scientists at the National Physical Laboratory in Teddington, Britain. Developed for use in the space exploration industry, the ‘blackness’ consists of a coating that will be used on the interior of the Hubble Space Telescope to improve its vision and is produced by a very lengthy chain of chemical processes, involving nickel sulphate and sodium hypophosphite. This produces a phosphorus coating, the surface then etched with nitric acid to produce the super-black surface structure. A 5 cm square coverage averages out at about five hundred British pounds.





Recently I got the photobooks of the artist Claudio Moser 'Arakanga' and 'Valerie' and there are great. There is a small interview of him on the internet, link here
(unfortunately only in german)





I had a look on the Li Wei website and I really found it fascinating his amateuring images of himself in front of his art. click here





PRETTY PRETTY is a slide show from the artist Elodie Pong in which he shows two sisters in the age of 8 and 10 who are totally conscious of their images as girls.
See here some of the image





Book 'Details of the World' by Sophie Ristelhueber
Info about the project can you find here





Book 'La List' by Sophie Ristelhueber
you can find some info on the personal blog
Photography and Books here





Allora & Calzadilla_Land Marks (2001-2004)





Christian Marclay_Graffiti Composition




Christian Marclay_Graffiti Composition
In 1996 Marclay was commissioned for "Sonambiente: Festival for Horen und Sehen," a music festival in Berlin. His project consisted of 5000 posters of blank sheet music which he plastered around the city; he then returned to the sites after a few months to photograph how the posters had been altered. This continues to be an ongoing work-in-progress.




Thomas Demand_watch his video's here




Ulli Weiss_from the dance performance by Pina Bausch




Experimental Jet Set_'paper punch card' from the series 'lost formats precevation society' click here to see all the lost formats




Lutz&Guggisberg_The library check their work here




Ron Lent check his life dots here




Claudia Angelmaier_Fichte info here




Sidsel Meineche Hansen_Instruction No.1 see the video here




Marcel Dazama more images here




Dustin Larson




Dan Perjovschi




Julia Mariscal link




Peter Fraser link




Markus Raetz




Markus Raetz




Pierre Bismuth_replaced by same link




James Hopkins link




discovery of Robert Capa's negatives read more here




Katja Stuke see the whole series here




Pierre Bismuth




Darren Almond click here for more




Olaf Breuning if you want to see more click here




Jorge Macchi




Jorge Macchi more work here




Sema Bekirovic info here




Cullen Stephenson see more her




Ville Lenkkeri more to see here




founded image on web




Martin Munkacsi




Gerhard Rühm link




Melanie Bojano link




Ulrich Görlich



John Stezaker link




Olaf Breuning




Paul Pfeiffer




Kohei Yoshiyuki link



Christian Marclay




Christian Marclay




Erwin Wurm




Haris Epaminonda link




Buried_Stephen Gill link




Allora&Calzadilla




Matthew Porter




Stephen Gill see more here




Taiyo Onorato & Nico Krebs




Jean-Christian Bourcart_Traffic




Stefan Abrams see more here




Hreinn Fridfinnsson




Katarzyna Kozyra