Category: References
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Pilvi Takala
Real Snow White, 2009 The absurd logic of the ‘real character’ and the extreme discipline of Disneyland become apparent when a real fan of Disney’s Snow White* is banned from entering the park in a Snow White costume. As visitors are encouraged to dress up and a lot of costume-like merchandise is sold at the…
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Ghislaine Leung
58: 96 / 49, Plastic, aluminum tape, dye, glue, children’s playhouse, metal, dimensions and title variable, Tape at minimum ceiling height for country of exhibition 2018 public sculpture, 2018 AR An interest in regulatory norms and their aesthetics is something we seem to share. On that note, I wonder if we might shift gears slightly…
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Paul Virilio- On Georges Perec(2001)
(After May 1968) Hence our approach to the city, for instance, no longer connected to traditional notions of urban geography (cadastral survey, social classes, concentration, density and other phenomena); rather, it connected to what we termed the ‘infra-ordinary’, i.e. what we do when we do nothing, what we hear when we hear nothing, what happens…
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Everyday Life and Cultural Theory(2002) – Ben Highmore
The attempt to locate and apprehend modern everyday life, and to find forms that are capable of articulating it, might be seen as the overriding ambition of many avant-garde artists of the late nineteenth and early twentieth century. The importance of such avant-gardism ambition will be central to this book. First though we need to…
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Michael Dean
(UnfuckingTitled) HAPPY END, 2022, Reinforced concrete, pigment, 134.5 x 135 x 54 cm Jungle is Massive, Installation view, Herald St, London, UK, 2022 Lost True Leaves, Installation view, Nasher Sculpture Center, Dallas, US, 2016 Unfucking Titled, 2018, Steel, concrete, corrugated plastic, balloons, cable ties, padlocks and scene tape, 230 x 165 x 335 cm Interview…
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Cornelia Parker
Endless Coffee, 2022, 13 silver coffee pots flattened by 250 tonne press, wire, height variable Thirty Pieces of Silver, 2017, wool, silk, metal thread 247×295.5cm Perpetual Canon, 2004 Images: Friths Street Gallery / Collection of Contemporary Art Fundación “la Caixa”, Barcelona
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Rhea Dillon
Icarus! Icarus! Icarus!., 2020 The Sombre Majesty(or, on being the pronounced dead), Soft Opening, London, 2022 Prayer, 2024 New wor(l)d.,2022 Image: Soft Opening
Seoyun Hong 