Film & Video (Film & Video)

A short video about Tate Modern by Emma Wolukau-Wanambwa depicts just two shots, both featuring the artist. The first scene portrays Wolukau-Wanambwa in a close-up frontal view, dressed in black, standing silently against a worn white wall. Through subtitles, the artist recounts her experience of participating in a workshop on the top floor of the museum.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Film & Video (Film & Video)

Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel. In the video, a fallen parachutist hangs tangled by his own lines, suspended between two electrical towers in a surreally desolate landscape of overgrown fields in the Jordan Valley of Israel. A group of over a hundred men and women approach the towers, working with almost mechanic efficiency to free the parachutist from the power lines overhead.

Drawing & Print (Drawing & Print)

These two images come from the series called “State of Control” which Kilpper made in the building formerly occupied by the Stasi in Berlin. As a symbol of the past there could be none more powerful than this. By carving into its floor, Kilpper laid bare its history by making images of its occupants and political figures associated with that period of history.

Drawing & Print (Drawing & Print)

These two images come from the series called “State of Control” which Kilpper made in the building formerly occupied by the Stasi in Berlin. As a symbol of the past there could be none more powerful than this. By carving into its floor, Kilpper laid bare its history by making images of its occupants and political figures associated with that period of history.

Performance (Performance)

This work needs to be considered in relation to one of his performances during which people were made to queue in front of the Kunsthalle of Frankfurt in 2003 (Tate Collection). In this instance Ondak collected images of people queuing in front of all sorts of buildings in various newspapers. He then inserted these in a Slovakian newspaper without trying to give any coherence with the information in the text on the same page.

Photography (Photography)

The photographed plaster heads set against the idyllic landscapes of the south of England, subvert the process of image production and memory. Based on photographic sources from journalism, they have preserved a ‘memento mori’ in the intimate form of a sculpture, yet derived from a source which is not only public but also voyeuristic. They have been entirely dislocated from their original context, and transferred to the realm of photography again, into fragile silver gelatin prints.

Photography (Photography)

The photographed plaster heads set against the idyllic landscapes of the south of England, subvert the process of image production and memory. Based on photographic sources from journalism, they have preserved a ‘memento mori’ in the intimate form of a sculpture, yet derived from a source which is not only public but also voyeuristic. They have been entirely dislocated from their original context, and transferred to the realm of photography again, into fragile silver gelatin prints.

Film & Video (Film & Video)

The work consists of a work inside a work. The spectator is presented with a commissioned documentary on a flat-screen Tv on the subject of the production of the making of an artwork that doesn’t exist entitled The magic and the meaning (2008). The imaginary film, The magic and the meaning , is described only within the documentary, which follows parts of the making of the film, extracts from interviews with the writer and film maker Dan Fox and the artist and maker of the work Ryan Gander; as well as showing short slow-motion sections of the film that does not exist.

Film & Video (Film & Video)

Soft Materials is a curious, touching but also disturbing sequence of confrontations between two people: a man and a woman, and machines. Shot in the Artificial Intelligence Laboratory at the University of Zurich, the humans and the machines mirror each other’s actions. It is unclear which party takes the lead.

H.2. N. Y Skeleton of the Dump revolves entirely around the performance “Homage to New York” (1960), of the Swiss artist Jean Tinguely (1925-1991), during which the machine built by the artist in the gardens of the Museum of Modern Art (MOMA) had to self-destruct itself in 27 minutes, but, in the end, it had to be finished off by firemenbeing called in after it erupted in flames. Since the discovery of Jean tinguely’s retrospective at the Tate Gallery in London, in 1982, Michael Landy spent two years researching and sketching (charcoal, oil, glue, ink) from his previous research carried out at Museum Tinguely in Basel, and at the MOMA in New York.

Film & Video (Film & Video)

The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways. The video begins with the pedestrian traversing a seemingly idyllic ivy lined stone and concrete thoroughfare. As his pace begins to accelerate, the camera follows him with greater urgency, slowly settling and become stable again as his pace decelerates.

Film & Video (Film & Video)

Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time. Shot from an aerial vantage, the camera tracks the daily commute on a small stretch of concrete highway. The camera films the traffic below in short five-second excerpts before blacking out; time begins to collapse as the video shifts between scene, and the hours compress into minutes as daylight quickly turns into night.

Painting (Painting)

In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces. The artist chose to depict the space before and after, thus creating the series titled “After the Archive Collections Room.” This group of paintings displays a space locked into time with its scaffolding and broom exposed, depicted just before an exhibition on a collection of archives.

Film & Video (Film & Video)

Board has a deadpan quality worthy of Buster Keaton. With this work, Wood and Harrison create an intimate, formally structured mise-en-scène in which they use their own bodies in interaction with a wooden board. The artists elaborate an orchestration of the comic consequences of inertia, gravity, and the law of falling bodies in this low-tech physics experiment.

Photography (Photography)

In this anti-collage, which comes from a series of 4, Macuga takes a photo she found in the archives of Zacheta National Gallery in Warsaw. The series was made on the occasion of her exhibition there in 2011. In 2000, Harald Szeemann curated an exhibition at Zacheta called ‘Beware of Exiting your Dreams: You May Find Yourself in Somebody Else’s.’ The exhibition provoked a violent response as a result of his inclusion of Maurizio Cattelan’s La nona ora , where the figure of the Pope is struck down by a meteor.

Photography (Photography)

This ephemeral installation by Jirí Kovanda, documented in the same way as his performances with a photograph and a text, belongs to a body of works that took place in his apartment/studio. During an interview with Hans Ulrich Obrist, the artist highlighted that he had never had a studio and that this work space blended with his apartment. A piece of string cuts across the room in a diagonal; it functions as a scale to measure time and space.

Photography (Photography)

This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005. His broad smile, on the verge of laughter, encourages reciprocity on behalf of the onlooker. This could be said to be a typical tactic in Creed’s work as it is so infused with humor and irony.

Drawing & Print (Drawing & Print)

All Kovanda’s artistic practice poses the question of visibility. Having worked on actions and performance, the artist decided to ‘disappear’ from his artworks during twenty years; in 2007, his performance Kissing through glass in the institutional setting of Tate Modern was acclaimed by critics. Some works are only visible thirty years later via traces and archives; the artist’s rehabilitation by institutions and galleries offers a new critical reading of his practice which had until then remained rather confidential.

Installation (Installation)

Work n. 335: THINGS

Painting (Painting)

Carib Carnival illustrates Aubrey Willams’s unique artistic language, combining Pre-Columbian iconography with abstraction. A series of abstracted shapes that resemble bones, masks and serpent-like images surrounded by fiery vapors and gases, illustrate the destruction of culture as one of the predominant themes of Williams’s work. He considered the Mayan and Aztec cultures to exemplify a number of present-day faults; according to Williams they developed technologies that would eventually lead to their own destruction.