Installation (Installation)

KLAU MICH is a TV and performance project by Dora García with Ellen Blumenstein, Samir Kandil, Jan Mech, TheaterChaosium, and Offener Kanal Kassel, during the 100 days of dOCUMENTA (13).

Drawing & Print (Drawing & Print)

Dora Garcia’s work is a result of institutional critique and more generally that of language, following the conceptual artists of the 1960s like Weiner and Kosuth and Fraser from the 1980s and 1990s. What a fucking wonderful audience (2008) is positioned conveniently at the crossroads of several trends identified in the work of the artist. The performance from which it is derived, was made at the Biennale of Sydney in 2008, taking the form of a guided tour at the Museum of Modern Art in Sydney and focuses on artworks that were not physically present.

Photography (Photography)

In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel. The long-exposure capture depicts García Torres at multiple stages of brainstorming, devising, and introspection, his ethereal figure connected with artistic giants of the past. Yet, there is also an insipid tone beyond mere insomnia or frustration at the lack of being able to garner inspiration.

Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films. Indeed rather surprisingly Kim seems to have had a huge collection of Western videos and he published a book called “On the art of the Cinema” in 1973. As the final acknowledgments indicate, Garcia Torres’s work was produced following in depth research, consulting information given by director Shin Sang-ok who has been kidnapped by Kim in 1978, as well as Jerrold Post (The George Washington University) and Timothy Savage (Nautilus Institute for Security and Sustainable Development).

Film & Video (Film & Video)

Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art. For him, this is a way of rethinking the tradition in a more personal way, to have a grip on events of recent history and examine them with a curiosity, both critical and sensual. The artist emphasizes the fact that new ideas and meanings may arise from these archaeological narratives.

September 2007

Film & Video (Film & Video)

Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969. This article, which is the only trace of his work, is indicative of a lack of interest by Neuestern to leave his name in history; to “defend an artistic activity that has little or no interest to last.” Oscar Neuestern could only remember the previous 24 hours, of which his life and his work are in constant erasure and reconstruction. His practice was “to let things be done with time and the unconscious,” while “not fearing the void.” He looked for the absolute through transparency and symmetry.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

Sculpture (Sculpture)

Sideways Time by Olivia Erlanger is the result of the artist’s interest in networks, seen and unseen, financial and ecological, the collapse of which has resulted in the fracturing of a middle class American identity. Consumption and the construction of value are a frequent concern of her sculptures that explore the structural friction between a public and private. Erlanger looks to the architecture that connects these systems for inspiration and in this sense, the language of scaffoldings, foundations and facades that percolate throughout her work.

Film & Video (Film & Video)

Hako (2006) depicts a mysterious and dystopic landscape where the world becomes flat: distance between different spaces, depth of field and three-dimensional perceptions are canceled. Interiors of a Victorian doll’s house, a rippled seascape, a palm tree forest, and a gravel seashore are superimposed, morphing into each other. The hermetic narrative is charged with psychological and mythological aspects.

Installation (Installation)

NO POSITIONS AVAILABLE is composed of panels covering the entire wall of the gallery exemplifying one of the tendencies of the artist. The “billboard sign,” like a ready-made, plays with the different meanings of the title, literally and abstractly. The repetition of the sign, as it has used in Minimal and Conceptual art, fills the space.

Film & Video (Film & Video)

The theme of the end of the world, of the last man on earth, recurs in our literary and cinematographic culture and in our imaginary: “we had this dream before, the dream that we’re alone.” In The Secret Life of Things , the narrator presents himself as an enthusiast and expert on films announcing the end of the world and those staging someone waking up to discover that they are the only survivor on earth. Like in some works by Mario Garcia Torres (like The Transparencies of the Non-Act , a slide projection about the artist Oscar Neuestern, Kadist Collection), the artist lends his discourse to a stranger. Mastering the montage, he intersperses a monologue and images.

Installation (Installation)

Matthew Buckingham presents a narrative directly connected with a highly symbolic site in the United States, the Mount Rushmore Memorial*. He elaborates a historiographic narrative of this place and switches it into the domain of science fiction by proposing a photograph of the Memorial as it should appear in 500 000 years. The effigies of Washington, Jefferson, Lincoln and Roosevelt become unrecognizable.

Film & Video (Film & Video)

In Centro Espacial Satelital de Colombia (Colombian Satellite Space Center) , Calderón & Piñeros (La Decanatura) play tribute to two “stunning” satellite antennas installed in the small municipality of Chocontá where, in 1970, the Space Communications Center of Colombia was inaugurated. That same year, the first antenna, responsible for the transmission (via microwave) of radio and telephone signals was put in place and eleven years later, the second antenna or Ground Station for International Communications would complete the complex known as Space Communications Center. Excursions to visit what became known as the “Satellite City of Colombia” were common for decades.

Film & Video (Film & Video)

Calderón & Piñeros (La Decanatura) refer to Sólheimasandur as a work that tackles the issue of “the ruin as a tourist destination.” As they say, “at the end, tourists become an essential part of this unusual, beautiful, and—at the same time—banal landscape.” The video features a plane wreck on Sólheimasandur beach in Iceland, where a navy plane belonging to the United States Army crashed in 1973 due to fuel exhaustion. The plane appears as an anthropomorphized figure: lying on the sands of the beach without its wings, it resembles a sculptural torso that has lost all its limbs, with cables coming out of its body appearing as internal organs. These injuries remind the viewer of the danger inherent in these artifacts, and the potential for both heroism and death implicit in flying them to far-away territories.