Oscar Masotta, To Induce the Spirit of the Image (1966)
Umberto Boccioni, Serata Futurista A Milano (1911)
Gerardo Dottori, Serata Futurista A Perugia, (1914)
History Zero by Stefanos Tsivopoulos
Stefanos Tsivopoulos, “History Zero” (still), 2013. Video. Courtesy of the artist and Kalfayan Galleries, Prometeogallery di Ida Pisani.
History Zero comprises a film of three episodes alongside an archive of text and images. The film questions the value of money and the role money plays in the formation of human relationships by depicting the experiences of three very different individuals; an elderly art collector suffering from dementia, an immigrant trawling the streets for scrap metal, and an artist taking snapshots of the city
Stefanos Tsivopoulos will represent Greece in the 2013 Venice Biennale
'The Muster' by Allison Smith
THE MUSTER IS A PUBLIC ART EVENT IN WHICH ARTIST ALLISON SMITH invokes the aesthetic vernacular of the American Civil War battle reenactment as a stage set for a polyphonic marshalling of voices in her artistic and intellectual communities.
Laure Prouvost, Max Mara Art Prize for Women, Whitechapel Gallery 20 March - 7 April 2013
Laure Prouvost presents a two-part installation inspired by the aesthetic and sensuous pleasures of Italy. Referencing the genre of panoramic painting, Prouvost creates a cylindrical structure interspersed with collages and monitors. This immersive environment leads to an idyllic inner space revealing Swallow(2013), a film showing fragments of footage, from birds to women bathing in waterfalls. Exploring language and translation, Prouvost plays on the historic idea of visiting the Mediterranean for inspiration.
Judith Hopf ‘A Sudden Walk’ (2012)
Judith Hopf, ‘Sunset, Sunrise, Sunset’
Museo Madre, Napoli
Rebecca Schneider, 'Performance Remains'. Text by Cecilia Aldarondo
Performance challenges the originary authenticity of material remains because it is capable of a multiple and uncanny interruption of the past into the present. As Schneider writes, “performance becomes itself through messy and eruptive reappearance, challenging, via the performative trace, any neat antinomy between appearance and disappearance, or presence and absence—the ritual repetitions that mark performance as simultaneously indiscreet, non-original, relentlessly citational, and remaining”
Tim Etchells, Words & Pictures
Solo performance. 2005 – ongoing.
A projected silent image of the artist’s thinking face is accompanied by his live commentary, in which he attempts to describe what he remembers having thought about while he shot the video footage. The ensuing live work presents an unfolding narrative of the artist’s thoughts on a series of topics – happiness, the future, goodbyes, endings . Words & Pictures takes its cue from Down Time - an earlier work existing as a short performance and a single-channel - and continues its exploration of memory, the play between real and recorded time and the process of translating thought into language.
Etchells sits at a chair and table, facing his own pre-recorded image in which each smile, blink, furrowed brow, look to or away from the camera is potentially the index of the thought process which he attempts to reconstruct. The inherently impossible task of reading, conjecture and remembering creates an intriguing dynamic and the congruity/incongruity of video image and spoken text provides a hook for a fragmentary and elliptical approach to confessional storytelling.
Ruth Buchanan, Several Attentions, 2009 Film still
