The File Arts presents:
by David Marinos
When ancient classic greek art meets a greek young artist of the future.
The edition contains all three Statues, remade at very high resolution especially for The File Arts. Also included are wallpapers, a PDF and a Certificate of Authenticity: View Statues on The File Arts
Art school confidential
(Source: aritakesphotos, via chadwys)
Carsten Nicolaï Anti :: Albrecht Dürer Melancolia
Rachel de Joode
Dora Budor hires professional stunt double Helga Wretman in a series of three action packed videos and co-related paintings. The main character finds herself repeatedly in dangerous, heart-pounding scenarios: a wilderness chase scene, a rooftop fight, and a car chase. All the while, she carries a newly stretched canvas that becomes damaged by her struggles to escape an invisible assailant. Employing the labor of a hired stunt double and utilizing the tropes of Hollywood action cinema, each of the videos is articulated as the making-of footage to final pieces. The paintings themselves become one of a kind “screen-matched” props, gradually corrupted as they are burned, ripped, and soiled. Incorporating both A and B-roll footage, objects are indexically marked by violence, while characters double each other in fragmented narratives.
The perpetual state of anxiety and escape from a dominant surveillant class, as deployed in many recent blockbuster hits, is extracted from its oppositional means and restaged as a form of contemporary artistic production—impelling emergency, violence and vulnerability as generative forces. There is no other place or exit; the continuous loop of the action scenes manifests a recursive meditation on confluent acts of violence, labor, and production. The objective insufficiency of the vacant canvases fosters their emergence as ciphers for concomitant subjective lacks. As narratives collide, produce and inscribe these processes for the camera, anticipation of the canvas as a site of personal investitures succumbs to the logics of automation and repetition, while body doubling links a schizoid reality with the accelerating fragmentation of virtual and real.
- Alex Ross
Content is King!
I think these are simply brilliant!
tilmanhornig Content is King!
Current Show, Berlin
yourtumblriscrap asked: Hallo! Really like the blog - I was wondering what the thought processes behind your blog name were.
Thanks; I wanted to name my art blog something cool, and in that time I was very into The White Stripes (yes my blog is old) and I liked their ‘sympathy for the recording industry’ as a play on ‘sympathy for the devil’ by the rolling stones, but also as am acknowledgement that the recording industry is dying. I think art is in the same transitory phase as the recording industry so we should have some sympathy for the art gallery, although it can also be a devil and maybe it is not so bad that more and more shifts to online :-)
I quit, 2014
Public space performance and photo documentation
19.6 x 27.5″ / 50 x 70 cmThis ongoing performance and its documentation is a
reference to Ai WeiWei’s Study in Perspective.
The performance is a provocation as much
as it is a protest behind a gesture.
sisyfos asked: Practically he does the same thing as Ai, even Ai's vases are at least 2,000 years old too, but theoretically it's different; Ai destroyed it since the government destroyed old China.
I agree it is theoretically different. But it is also politically motivated. Ai Weiwei’s vases cannot be seen solely as a critique against the Chinese government, but also as a symbol of a global art market where a few art superstars are exhibited everywhere, which tends to push out more local artists and culture. I like the fact he uses the creative act of one of the elites politically most critical artists as a way to make his own point. The fact he does the same thing is actually his weakness; it does not have the creativity of Ai Weiwei’s act, nor the huge personal historic symbolism (Ai Weiwei is in fact drawing attention to the destruction of his own culture, by destroying an artefact of it) so in the end it is probably more a piece of political propaganda than a creative piece.
Still: there is not really any other work of art that would have invited the same extreme violent way to express his point than this and still seem like a creative act. Unlike the guy defacing a Rothko in the name of art I actually hope Mr. Caminero gets off with a reprimande and does not have to serve jail time. Because seeing the history of Ai Weiwei that would be ironic.