In the eight-channel video installation Movement , Li Ming uses his body as a prop to interact with different means of transportation. Each channel features footage of the artist moving forward, jumping between various modes of transportation that weave in and out of the frame in a carefully orchestrated choreography. As the artist descends from the loader bucket of a moving construction tractor, he jumps onto a skateboard which he then discards as he lays on top of a suitcase that continues rolling forward. Running, skating, sliding on a trolley, chasing lifts from bicycles, trucks, excavators, tuk-tuks, all form part of his journey. The synchronization of the eight videos binds the parallel narratives together, creating the effect of the artist chasing his own image in an endless loop unravelling across the same city-scape. The use of repetition and seriality that and deceptive impression of linearity, echoes the illusion of time/space that is commonly used in Hollywood films.
Li Ming creates video, installation, performance and photography that explores the relationships between individuals and society through the lens of their interactions with daily objects and their direct environments. In 2008, Li Ming founded the art collective Double Fly Art Center, known for enacting humorous and anarchic public actions such as staging a mock bank robbery and faking orgasms while getting their feet massaged. The collective’s focus on improvisation, spontaneity and the nonsensical nature of their endeavours have become an important influence for on Li Ming’s practice, who in his recent videos, has relied on his own body to reveal hidden connections between space, time, himself and various social issues he perceives around him. His videos often have a purposefully grainy, shaky, and near amateur quality, reflecting the carefree ethos that defines his practice. Entangled with his playful and experimental approach there are always underlying questions, social investigation and commentary — from the way we interact with technology, to Chinese politics, to spatial and temporal questions.
This untitled work from 2012 is a print originally made as part of the Wattis Institute for Contemporary Art’s artist limited edition series...
Reeder’s works often start with language—and his Pasta Paintings are no different...
This untitled work from 2012 is a print originally made as part of the Wattis Institute for Contemporary Art’s artist limited edition series...
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Natasha Wheat’s Kerosene Triptych (2011) is composed of three images, one each from the digital files of the Library of Congress, the Smithsonian Institution, and the Field Museum tropical research archive...
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Anne Deguelle — L’Arctique fantôme — L'ahah Moret — Exhibition — Slash Paris Login Newsletter Twitter Facebook Anne Deguelle — L’Arctique fantôme — L'ahah Moret — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Anne Deguelle — L’Arctique fantôme Exhibition Photography Upcoming Anne Deguelle, Glacier, 2014, 40 × 53 cm © Adagp, Paris, 2023 Anne Deguelle L’Arctique fantôme In about 2 months: January 27 → February 17, 2024 vernissage le 27.01.24, 17h → 21h exposition du 27.01 → 17.02.2024 L’ahah #Moret 24-26, rue Moret, 75011 Paris L’ahah est heureuse de présenter cet hiver en L’ahah #Moret une série singulière de photographies dans l’œuvre de l’artiste Anne Deguelle ...
In the video No Not Nothing Never , a group of 23 domestic fans arranged in a mountainous desert landscape, move in perfect synchrony...
Anne Deguelle — L’Arctique fantôme — L'ahah Moret — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Anne Deguelle — L’Arctique fantôme — L'ahah Moret — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Anne Deguelle — L’Arctique fantôme Exposition Photographie À venir Anne Deguelle, Glacier, 2014, 40 × 53 cm © Adagp, Paris, 2023 Anne Deguelle L’Arctique fantôme Dans environ 2 mois : 27 janvier → 17 février 2024 vernissage le 27.01.24, 17h → 21h exposition du 27.01 → 17.02.2024 L’ahah #Moret 24-26, rue Moret, 75011 Paris L’ahah est heureuse de présenter cet hiver en L’ahah #Moret une série singulière de photographies dans l’œuvre de l’artiste Anne Deguelle ...
The central point of Vanishing Point is the most direct physiological reaction of the body to the environment...
A Portrait: Covering and Cleaning is an installation of six black-and-white video projections...
Temps Mort is the result of one year of mobile phone exchanges of still images and videos between the artist and a person incarcerated in prison...
In Destinos Posibles Garciga performs a service in Havana, Cuba by offering strangers in the streets a “ride” to wherever they are going for free, in exchange he demands that the passengers address the question “what do they want from life?” A poignant video within the context of the limitations the Cubans have in terms of choices, desires, fantasies, and longing....