set/hørt

Modern life

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John Baldessari

Noget at skjule? (2)

Noget at skjule? (1)

Berenice Abbott

Court of the First Model Tenements in New York City (ca. 1935-39).

“Their houses,” said Berenice Abbott, “tell much more about a people than their noses” (LIFE, 1938).

Jeu de Paume, Paris.

Bovines

Museo del Prado

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Jusepe de Ribera: The Bearded Woman (1631)

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Francisco de Goya: Saturn devouring his son (1819-23)

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Francisco de Goya: Dog half-submerged (1819-23)

Sæder og skikke

Feet on the Seat –

eller Macho i kollektivtrafiken?

David Shrigley

Netto-generationen

Tom Kietz

Marcelbroodthaers.com

Untitled (2009)

Mark Bradford

A Thursday on Upper Manhattan

Wallpainting of a Camel (Spanien, måske 1129–34). The Cloisters, New York.

The Unicorn in Captivity (Holland, ca. 1495–1505). The Cloisters, New York.

Diego Velázquez: Cardinal Pamphili (1650). The Hispanic Society of America, New York.

Lynette Yiadom-Boakye

Lynette Yiadom-Boakye: Any Number of Preoccupations (2010), The Studio Museum in Harlem, New York.

Mark Bradford: Alphabet (2010). Studio Museum in Harlem, New York.

Tanea Richardson: He’s Actually Very Intelligent (2007). Studio Museum in Harlem, New York.

The School of Objects Criticized

Alexandre Singh: The School of Objects Criticized (2010)

Free, New Museum, New York

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Fia-Stina Sandlund: One More Monument (2007)

Juan Pérez Agirregoikoa: Reject Series (2007)

!? – En utställning om politisk retorik och dubbla budskapSignal, Malmö, 29/10-12/12.

“We are now a step closer to the rest of Europe.” (Galleri Signal)

Lens flare

(Henriette Heise på Overgaden fra 12. november)

Dark Time

“And then those questions come up.
Like was the Constitution written in invisible ink?
Has everybody here forgotten how to think?
Is this big boat  starting to think?

And you thought there were things that had disappeared forever.
Things from the Middle Ages.
Beheadings and hangings and people in cages.
And suddenly they were everywhere
And suddenly they’re alright”

(Laurie Anderson: Dark Time in the Revolution)

Max Hattler: Your Highness

“I don’t want to be negative, but I always find the whole thing rather strange. Soccer is one thing, but the World Cup is something else because it takes on even more of a mass dynamic. During the World Cup period in 2006, when Germany was the host country, I returned to Germany from England and was stunned to see everyone waving their German flags and all the newspapers reporting how great it was that Germans could now finally show their national pride again. This time around, it has become even worse – police cars sporting German flags, etc. I find it rather unpleasant.”

Max Hattler i Deutsche Welle

Laurie Anderson: The Crash

Laurie Anderson: Homeland

Blu: Big Bang Big Boom

(via rebel:art)

Breda Beban

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Skærmbillede 2010-07-04 kl. 20.19.47

Breda Beban: My Funeral Song (Camden Arts Centre)

Jim Hodges

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Jim Hodges: Slower Than This, 2001 (Camden Arts Centre)

Francis Alÿs: A Story of Deception

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Ambulantes I and II Mexico City 1992-

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Rehearsel I (El Ensayo) Tijuana, 1999-2001

Francis Alÿs: A Story of Deception (Tate Modern)

Francis Alÿs

Whose map is it?

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Emma Wolukau-Wanambwa: A continuing survey of syntactic parsing (detail) 2010

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Alexandra Handal: Labyrinth of Remains and Migration (detail) 2000-01, 2010

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Gayle Chong Kwan: Save the Last Dance for Me (detail), 2010

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Esther Polak: NomadicMILK, 2008

Whose map is it? new mappings by artists (iniva, Rivington Place)

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Emilia Kabakov: The Toilet in the Corner (2002)

Jan Svankmajer: Jabberwocky (1971)

The Surreal House (Barbican Centre)

Exposed

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Jonathan Olley: Golf Five Zero watchtower (known to the British Army as ‘Borucki Sanger’), Crossmaglen Security Force Base, South Armagh 1999

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Weegee (Arthur Fellig): Their First Murder October 9, 1941

Tate Modern: Exposed – Voyeurism, Surveillance & the Camera

Newspeak: British art now

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Karla Black: Nothing is a must

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Eugenie Scrase: Truncated trunk

Newspeak: British art now (Saatchi Gallery)

Tacita Dean: Craneway Event

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Tacita Dean: Craneway Event (Frith Street Gallery)

“I filmed for four days—the first day it was raining and Merce just looked at the space. The next three days, the dancers came. There were pelicans everywhere, and the craneway was surrounded by glass. It was stunning light.”

Tacita Dean in Artforum

Must – The Inside Story

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Peggy Shaw, Soho Theatre (Review)