Above the Weather - Jason Dodge - 2007
mixed media
In Algeria, Djidjiga Meffrer has woven a tapestry from string equaling the distance from the earth to above the weather, whe was asked to choose string the color of night 2007
Woman scratched 1 - Akram Zaatari et Hashem El Madani - 2006
photographie
New Kurdish Flag - Peter Friedl - 2001
tissue on nylon
Make Down - Dennis Adams - 2004
Video, color, sound, 34 mins and installation (96 black and white prints on paper inside a vitrine)
The video « Make down » is a 34 minute sequence shot that shows the artist removing make-up in front of a mirror. The peculiarity of the scene consists in two symbolic details: first, the make-up itself, covering his face, hair and torso - a thick kaki layer, reminding of military camouflage - and second, the paper used to remove the make-up - black and white prints of stills taken from Gillo Pontecorvo's 1965 film, « La bataille d'Alger ».
These still images put together recreate a sequence in which a young Algerian woman takes off her veil and puts on Western make-up. This disguise will help her pass the border and place a bomb in the French area of Algiers.
Censured in France when it came out, the movie combines history and feminist activism; it may also be reinterpreted today in relation to the recent history of terrorism.
The video goes with an installation: a vitrine enclosing the 96 prints soiled by the make-up, the remains of the artist's performance, as if it were a reliquary.
Compared to the terrorist's gesture, the action is performed backwards by the artist, which could suggest the impossibility of having a unique reading of history.
Make Down - Dennis Adams - 2004
Video, color, sound, 34 mins and installation (96 black and white prints on paper inside a vitrine)
The video « Make down » is a 34 minute sequence shot that shows the artist removing make-up in front of a mirror. The peculiarity of the scene consists in two symbolic details: first, the make-up itself, covering his face, hair and torso - a thick kaki layer, reminding of military camouflage - and second, the paper used to remove the make-up - black and white prints of stills taken from Gillo Pontecorvo's 1965 film, « La bataille d'Alger ».
These still images put together recreate a sequence in which a young Algerian woman takes off her veil and puts on Western make-up. This disguise will help her pass the border and place a bomb in the French area of Algiers.
Censured in France when it came out, the movie combines history and feminist activism; it may also be reinterpreted today in relation to the recent history of terrorism.
The video goes with an installation: a vitrine enclosing the 96 prints soiled by the make-up, the remains of the artist's performance, as if it were a reliquary.
Compared to the terrorist's gesture, the action is performed backwards by the artist, which could suggest the impossibility of having a unique reading of history.
Sans Titre (Série Les Figures) - Valérie Jouve - 2000
Photographie couleur (210x170cm)
Grosse Bétise - Alain Séchas - 2003
Polyester, acrylique on canvas - sculpture 177x82x57 cm - canvas 205x170 cm
A cat, standing like a human being, is looking at us with round and dazed eyes and holds a gun. In the background, we notice a range of unwelcoming buildings, closed in with barbwire. A sentence is inscribed inside of one of the clouds, as if it were a speech bubble, and comments —with hope or disillusion? —: « Ready to do something very bad ». We are left speechless and worried in front of this situation in which Alain Séchas projects us directly and spontaneously. With this installation combining a painting and a sculpture, we are given all the burden of reality to carry on our backs. With Séchas, things are clear: at first sight, it is a straightforward joke; in the end, it leads to awareness and a sharp comment on society.
Materio en Reposo - Damian Ortega - 2004
20 photographies c-prints encadrées, (27,9 x 35,6 cm chacune)
The End - Dennis Adams - 2002
Photographic diptych (103x137cm)
Untitled (violet) - Michael Craig-Martin - 2005
Acrylique sur papier (101.6 x 80cm)
Pentimenti - Carolina André Saquel Martinez - 2004
Vidéo (7 minutes)
Il pleut, Paris, 1er juillet 2000 - Jean-Luc Moulène - 2004
Cibachrome contre collé sur aluminium, 75 x 57 cm, © ADAGP - Jean-Luc Moulène
Le Noeud Coulant - Jean-Luc Moulène - 1997
Feutre noir & collage sur papier, 56,3 x 51,5 cm, © ADAGP - Jean-Luc Moulène
The Fifth Quarter - Toby Ziegler - 2005
Peinture huile sur toile (175 x 200cm)
Der Wanderer 3 (Série The New Painting) - Elina Brotherus - 2004
Photographie couleur sur papier contrecollée sur aluminium anodisé et encadrée (105 x 133 cm)
Blind Spencer - Douglas Gordon - 2002
Photographie découpée (61 x 65,3 cm)
Armless - Chloé Piene - 2005
Fusain sur papier (158 x 104 cm)
20 Surrogates - Allan McCollum - 1982
Dimensions variables
Zeppelintribüne - Artur Zmijewski - 2002
Vidéo (6 minutes)
Returning a Sound - Jennifer Allora & Guillermo Calzadilla - 2004
Vidéo couleur, son, DVD (5 min 42)
The Nature Of Conflict - Jennifer Allora & Guillermo Calzadilla - 2004
Essence et eau, 2 bidons, photographie (dimensions variables)
Land Mark (foot prints) #12 - Jennifer Allora & Guillermo Calzadilla - 2004
Photographie C-print (48,8 x 60,3 cm)
Land Mark (foot prints) #10 - Jennifer Allora & Guillermo Calzadilla - 2004
Photographie C-print (48,8 x 60,3 cm)
Condensé - Taroop & Glabel - 2003
Adhesive paper on wood (90 x 60cm)
Why fear the future - Carlos Amorales - 2005
Silkscreen on 54 cards (29.7 x 41.3 cm each)
We only move wehen something changes - Olaf Breuning - 2002
Photographie C-print contrecollé sur aluminium, plastification brillante (123 x 155 cm)
Ho! Ho! Ho!... - Jun Nguyen-Hatsushiba - 2006
Vidéo (15 minutes)
Rolled up - Jonathan Monk - 2003
Sculpture en Aluminum (56.5 cm de diamètre)
Loin de Honolulu - Mathilde Rosier - 2003
Vidéo (11minutes)
Work No. 299 - Martin Creed - 2002
Photographie C-print sur Papier Crystal monté sur aluminium (75 x 100 cm)
Our love is like the Flowers, the Rain, the Sea and the Hours - Martin Boyce - 2003
Installation (1 arbre, 1 banc et 1 poubelle/corbeille)
Gerald Hughes - Philippe Lorca-DiCorcia - 1990
Photographie (39,5 x 57 cm)
Black star press - Kelley Walker - 2005
Triptyque, image scannée et sérigraphiée, chocolat (91.4 x 71.1 cm chaque)
Plug the Well - Keith Tyson - 2003
Peinture (157 x 126 cm)
U.F.O. - Julius Koller - 1978
Photographie (50 x 50 cm)
Demonstrative Cultural Situation 1,2 (U.F.O.) - Julius Koller - 1989
Diptyque photographique, noir et blanc sur papier contrecollé (30 x 40 cm chaque)
Solo - Pascal Grandmaison - 2003
Installation vidéo
Rebels of the Dance - Fikret Atay - 2002
Vidéo couleur avec son, transférée sur DVD (10 minutes 57)
Silberhohe - Clemens von Wedemeyer - 2003
Film 35mm transféré sur DVD (10 minutes)
Pop (Blue Time) - Saâdane Afif - 2005
Lettres adhésives
Stalactites (Few More Mistakes). Round Bar of Wood (Portrait of Gilbert & George) - Saâdane Afif - 2005
2 éléments (122cm x 2,5cm chaque)
Until It Makes Sense - Mario Garcia Torres - 2004
video, 60 secondes loop
One Minute to Act a Title: Kim Jong Il Favorite Movies - Mario Garcia Torres - 2005
Noir et Blanc, film en 16mm. Muet.
A charades game among actors guessing the North Korean dictator's favorite Hollywood films. The motion pictures represented are, in order of appearance:
Doctor Zhivago by Craig Wadlin;
First Blood by Misti Traya;
From Russia with Love by Vanessa Koellner,
Friday the 13th by Gregory Arlt;
The Godfather by Roberto Medina;
You Only Live Twice by Nate Harrison and
Gone With The Wind by Margarita Reyes. Cinematographer: Kevin Merz.
Wash & Go - Alban Hajdinaj - 2001
Vidéo transféré sur DVD (2 minutes 40)
Useless Wonder - Carlos Amorales - 2006
Video installation, double video on floating screen, variable dimensions
Soft Materials - Daria Martin - 2004
Film 16mm (10 minutes 30)
Baobab - Tacita Dean - 2002
16mm film, black and white, optical sound, 10mins
« The camera, which examines in 'Baobab' the ancestral and imposing trees of Madagascar, tries to capture the shadow and light effects, specific to photography. »
(Essay by Julia Garimorth, in « Tacita Dean: Seven Books », published by Steidl / ARC/ Musée d'Art Moderne de la Ville de Paris, 2003).
The photographic quality of the film 'Baobab' is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits.
The monumental and unnatural aspect of the baobabs turns them into strange and anthropomorphic personalities.
Adding to the descriptive aspect of the film, the sound is a recording of the environment, of sounds made by animals, and participates in this peaceful contemplation. The still, almost fossilized aspect of the landscape makes it look majestic and eternal.
CFL (cognitive fooding laboratory / compact fluorescent light) - Loris Gréaud - 2004
Laboratoire, raccords en aluminium, profils en aluminium, tubes en plexiglas, mousses, pousses de cresson modifié, tubes néons de croissance)
Impossible Accomplishment or the power as addition of seductions 2 - Marcelo Cidade - 2006
Photographie (92 x 107 cm)
Re: definition of architectural project 2 - Marcelo Cidade - 2006
Aquarelle sur papier Canson (150x250 cm)
Forme du Repos#3 - Raphaël Zarka - 2001
Photographie, Tirage Lambda (80x53cm)
A vehicule without light - Ryan Gander - 2004
Photographie (120 x 120 cm)
You see without light - Ryan Gander - 2004
Photographie (120 x 120 cm)
Travelogue lecture (with missing content) - Ryan Gander - 2001
Installation (ensemble de 27 diapositives et de coussins)
Out of the Shadows II - Willie Doherty - 1997
Photographie (121 x 182 cm)
A Tank Translated - Omer Fast - 2002
Dream Machines - Loris Gréaud - 2004
Map - Peter Friedl - 2005
offset print
What remains is future - Laurent Montaron - 2006
video HD
Anonymous - Akram Zaatari et Hashem El Madani - 2006
photographie
Anonymous 1 - Akram Zaatari et Hashem El Madani - 2006
photographie
woman scratched - Akram Zaatari et Hashem El Madani - 2006
photographie
Two young men - Akram Zaatari et Hashem El Madani - 2006
photographie
Najm - Akram Zaatari et Hashem El Madani - 2006
photographie
The Stray Man - Roman Ondák - 2006
Performance and video installation
A man is asked to wander near the windows of a gallery, situated adjacent to the street. He occasionnally gazes through the windows into the gallery, but never enters.
The performance takes place for half an hour daily for the duration of the exhibition.
Slowed-down Journey - Roman Ondák - 2003
Set of 8 drawings (installation view)
Roman
Ondák askes his family, friends and acquaitances to draw places that he visited during his travels or situations he experienced when travelling. These drawings show Roman Ondák wandering through foreign cities or waiting at the airport.
Already been in a lake of fire. plate 63/64 - The Atlas Group/Walid Raad - 1999
archival inkjet on archival paper, 112 x 203 cm
1999-2002
The Transparencies of the Non-act - Mario Garcia Torres - 2007
Diaporama : 52 diapositives
Hans Forlorar sina bada armar och ben - Nathalie Djurberg - 2004
DVD projection, 4'33 min
Floating Mountain (Mt Hemo) - Vidya Gastaldon - 2006
Wool and iron thread, height 275, diameter at widest 215
Message to the Extraterrestials - Christoph Keller - 2007
dobsonian telescope, slide projector, 80 slides, 2 mirrors
The secret Life of Things - John Menick - 2006
Video, 6 min
An unidentified man describes his ongoing fixation with "last person on earth" films -- films in which a single person awakens to find that he or she is the sole living inhabitant of a city.
If I dig a very deep hole... - Pratchaya Phinthong - 2007
negative photo, 2 Plexiglas plaques (11,8 x 5,8 cm), neon
Foreigners Everywhere (Italian) - Claire Fontaine - 2005
neon, cables and transformer, 100 x 10 x 4,5 cm
John Kelsey: Claire Fontaine's practice seems to revolve around the word « foreigner »... could you say something about this concept, if indeed it is one, and how it informs (infects) your activities and tactics?Claire Fontaine: The series of neon signs « Foreigners Everywhere » in several different languages, for example, is named after an anarchist collective from Turin that fights racism through its different activities. The ambivalence in their name made me wonder what might happen if it was physically and materially displaced into different sites and contexts. It's clear now that immigration and emigration are not simple epiphenomena linked to the economy. They are existential and perceptual experiences in their own right. As for the strangeness that we can all feel when faced with a world that is entirely fabricated and governed by senseless logics, that can certainly be a driving force in the struggle. The idea of the human strike borrows a lot from Bertolt Brecht—from what he described as a process of « estrangement » within the power relationships that constitute who we are—in order to produce events in this interval in the normal flow of things. I don't think there is anything coquettish about our use of different languages. It stems from the fact that we were born elsewhere and left for no particular reason, except perhaps the fact of no longer being at home. The contradictions, power relations, and violence that one's own language buries or blunts become manifest when you use a language that isn't your own. The struggle with meaning then gives form to what Deleuze and Guattari claimed to find in Kafka: the « foreign language within language ». Basically, this is what artists are trying to speak. The promise of community rests solely in this impropriety ». Claire Fontaine interviewed by John Kelsey, available on the artist's web site <>
: www.claireaine.ws
Nachbau - Simon Starling - 2007
4 gelatin silver prints, black and white, 72,8 x 64,8 x 4,5 cm, framed
Untitled - Pavel Wolberg - 2004
color print, 50 x 70 cm, edition of 3 copies
A young settler girl, dressed in a bridal outfit for Purim, stands in a street in Hebron waiting, perhaps for her parents or other children to join her. In the background three soldiers scan the buildings and the rooftops for threatening presences. Turning her back to the soldiers, the little girl pays no attention to what surrounds her. Her gaze is directed beyond the picture's frame. The soldiers do not seem to protect the child either, their eyes and guns are pointed in different directions. Two of them seem to be looking at the camera, which brings the picture back to a certain reality.
In this photograph, as in the one with the disguised boy, there is a palpable tension and the contradictory representation of two realties: the war and childhood innocence. Moreover, in both photographs, the costume implies fiction and may suggest that feelings are hidden. Wolberg's images portray violence, but very differently than what you expect from war reportage, for example the terrible images of children during the Vietnam war like the famous photograph by Kim Phuc.
Pavel Wolberg observes the incongruities of life in Israel, where trying to carry on a « normal » life can sometime create absurd situations.
Cemetery - Gabriel Orozco - 2002
Photographie (50x80cm)
A child and a dreamer my whole life long (broken tree) - John Isaacs - 2004
Sculpture - bois, cuivre, fil, peinture à l'huile (175 x 80 x 70cm)
Cellman - Fabrice Hyber - 2003
Peinture à l'huile et collage sur papier
Search for the Origin of the Work of Art or on the Way to Heidegger's Cabin - Maria Bussmann - 2005
Ensemble de 20 dessins
Coué 1 - Alain Séchas - 2006
Caisson en aluminium Dibon, sérigraphie, mécanisme électronique rotatif, bande sonore
