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In Stong Sory Vegetables , Laure Prouvost explains that she woke up one morning and that some vegetables had fallen from the sky on her bed, making a hole in her ceiling. Each video, in this series, is an odd still life representation turning everyday elements into imaginary and funny stories. A tomato, an onion, a lemon and a carrot are displayed in front of the monitor as relics. These vegetables are also present, outside the monitor, to assure the spectators as well that the stories we are hearing are true. The artist invites us to participate in her stories, and to sort out the inextricable connections between language, image and perception. In many of her videos, Laure Prouvost uses as a starting point her own family life, her acquaintances or even her pets. Her daily stories drift quickly towards odd and funny connections. Thus, in the video Stong Sory , the artist prepares a beautiful cake for her brother’s birthday, which contains living surprises such as spiders and birds. The piece of bread on the stand is a relic, which brings us to see beyond its mere appearance. In the same way, if Laure Prouvost uses her family as “raw material” it is not only to create a contrast with her surreal stories but also to speak about the complexity of daily life as a constant invitation into her works: “Behind! Look Behind!”.
Laure Prouvost is a multi-disciplinary artist best known for her films and immersive large-scale multi-media installations, in which she plays with words and their meanings in non-linear ways. Using humor as entrapment, Prouvost’s work addresses miscommunication and how ideas become lost in translation. The artist combines existing and imagined personal memories with artistic and literary references in different mediums that dialogue with each other, such as film, sculpture, painting, tapestry, performance, and fragmentary tales. This combination creates sensual environments of unfamiliar worlds that absorb the spectator in a form of escapism.
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
In this work, Saâdane Afif quotes André Cadere’s round wooden batons using the copy share and remix principles...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...
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Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...
Gabriel Orozco often documents found situations in the natural or urban landscape...
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....