Behind the door when it’s entirely open, touching the wall
a floor area of 83,5 x 2 x 87 cm covered with transparant adhesive spray, gradually becomes visible by accumulated footsteps made by visitors
2010
8 neons, each 50 x 50 x 50 cm
variable positions
Untitled
new NAD C355BEE Stereo Integrated Amplifier, never to be used
switched on, no input/output
Drip
Letraset o
n
A4 paper,
framed
2009
Untitled
transpirat
ion stains on
A4 isometri
c
paper,
framed
2009
Untitled
passe-partout for a torn out page, framed
2009
The Curators
a collaboration with Annaïk Lou Pitteloud
9’ digital slide show projection/ 16’ video projection, sound
2009
(excerpt from notes on the work :)
The slideshow projects images of the setting of a public conference on curating in an art
insti-tute in which curators are featured.
The conference uses a setting that wants to hide the exhibition space it is appropriating with a
mask that allows only verbal discourse. Ironically, the setting simulates the image of an
exhibi-tion and because of this, the exhibiexhibi-tion space does not really disappear but rather re-appears
through its reciprocal relation to the conference.
The huge omnipresent monochromes for example are not artworks but serve as panels to
muffle the reverberation, adhesive wall texts are not museal explanations nor conceptual text
pieces but oneliners distilled from the history of curating, used as slogans for a public meeting,
etc... Nonetheless, they guarantee the visuality of the event by their cross-referencing.
The photographs litteraly show this image of the conference as an ambiguous façade. While
these pictures formally seem to refer to the genre of authorial ‘objective’ photography, they are
in fact carefully constructed stand-ins for this genre, allowing them to be read -much like the
setting of the conference itself- as a façade, an image that seems to be re-enacting its visibility.
Alongside these still images, a video projection with sound takes the spectator through the
conference.
The video aims to offer a closer view of the event, a view from the inside which at first glance
seems to be a documentation of the happening, more direct and truthful. But the video folds
back onto itself, since it essentially ends up documenting the implication of the videomaker in
the situation and showing his/her subjective points of attention, rather than fulfilling the
expec-tations of a documentary. It is precise in an amateuristic sense, showing more relevance by
seemingly missing the point.
installation view during The Conspiracy/Die Verschwörung,instruction for a page in the catalogue ‘VOIDS, A Retrospective of Empty Exhibitions’
Centre Pompidou, Paris, F / Kunsthalle Bern, CH
Amplifier
DVD projection, 15 minute loop, sound
2008
A booklet from a cd containing early feedback performances by Max
Neuhaus lays on the worktable in my studio. The caption under the
image reads: “Neuhaus switching off the amplifier to end a
perfor-mance at the New School for Social Research”. The image,
includ-ing the sound in and outside of my studio, is recorded on video
while I leave for about 15 minutes.
The Artist Will Be Present
black inkstamp, 3 cm x 0,4 cm
2008
installation for Between Beach Ball and Rubber Raft,
The Front Room, Contemporary Art Museum, St. Louis, USA,
2008
Dot
neon, diameter: 5 cm.
2008
Hole
mini DV cassette, wall
2006
-A hole was made in the wall that divides the exhibition space from the storage
room of the gallery. The making of the hole was recorded on mini DV until the
opening was big enough to see the adjacent space and to fit the mini DV
cas-sette. At this point the mini DV was taken out of the camera without re-winding
it and put into the hole after which the wall was carefully restored into its original
state.
Bag
plastic bag containing metal bolts screwed into the floor
2008
Untitled
engraved PVC titlecard
20 x 30 cm
2007
installation view with Bag during E N D at Alexandre Pollazzon Ltd.,
London, UK, 2008
Behind the door when it’s entirely open, touching the wall
removed wallsegment, extended electrical wiring, protective metal corner
2007
installation during Open Ateliers, Rijksakademie van Beeldende Kunsten,
Amster-dam, NL, 2007
Secret ways to remain happy,
PANTONE colour sheet, copier paper on a catalogue page isolating the title of
Richard Tuttle’s installation Secret ways to remain happy, 1986
Pretending to look elsewhere in exhibition venues, NYC
DVD
projection
,
4 minutes loop,
sound
2007
on
Pretending to look elsewhere in exhibition venues, NYC
‘At the end of last year I began recording white walls during visits to known galleries in New York -Marian Goodman, Gavin Brown’s enterprise, Baumgartner, etc. After I
real-ized this wasn’t allowed I had to act like a regular spectator to be able to make the recordings, which made the whole idea more interesting. Because there wasn’t just the
shift from context to exhibit and the other way around, created by the gallery itself, but it also forced me to engage in several performances which were -necessarily-
unno-ticed by the audience, in this case the venues’ staff. Of main importance to me though is that, through basically generating itself the way it did, the work has a questionnable
existence. It’s neither a performance nor a carefully constructed video, maybe it’s a residue of something that wasn’t really there in the first place.’
Untitled (slightly to the left)
welded steel, epoxyglue, metal bolts, matte primer coating
2007
Top left to bottom right
marker on A4 grid paper
2009
Bounced ball
yellow rubber ball, numbers 0 to 9 cut out in grey adhesive vynil
10 cm diameter
Test
transparant neon,
visible
argon gas
180 cm x 70 cm
Left and right at the same time
Two identical radios play live sounds from an underground parkinglot left of the gallery and a showroom for design furniture on the right of the gallery.
FM-transmitters were installed in both spaces. Both radios were installed accordingly on the left and the right of the gallery space.
detail parkinglot detail showroom
