Otazniky

In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...

Shot in Oliveto Lucano, a village in the south of Italy, AUTOTROFIA (meaning self-eating) by artist Anton Vidokle is a cinéma vérité style film that slides fictive characters into real situations, and vice-versa, to draw a prolonged meditation on the cycle of life, seasonal renewal, and ecological awareness...

The Dud Effect is a film that revisits the fear of nuclear attacks during the Cold War by staging the firing of a R-14 missile by a solitary soldier on the site of a real Soviet launch base installed in Lithuania...

The Exploitation of the Dead cycle is composed of a very large number of elements which the artist reorganizes differently every time...

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)...

As the caption purposely admits, these drawings were made by friends of Ondák’s at home in Slovakia asked to interpret places he has journeyed to...

“A man wanders near the windows of a gallery, situated adjacent to the street...

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...

Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...

All Kovanda’s artistic practice poses the question of visibility...

Kovanda’s street interventions are always documented according to the same format as the actions: a piece of A4 paper, a typewritten text giving a precise location and date, and a photograph...

Kovanda’s ‘discreet’ actions (leaving a discussion in a rush, bumping into passers-by in the street, making a pile of rubbish and scattering it, looking at the sun until tears come…) are always documented according to the same format: a piece of A4 paper, a concise typewritten text, and sometimes a photograph taken by someone else...

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...

Kovanda’s street interventions are always documented according to the same format as the actions: a piece of A4 paper, a typewritten text giving a precise location and date, and a photograph...

Kovanda’s street interventions are always documented according to the same format as the actions: a piece of A4 paper, a typewritten text giving a precise location and date, and a photograph...

Untitled (1992) responds to the same principles of an economy of means as the artist’s actions and installations: three empty cardboard boxes which have contained photographic film are piled one on top of the other...