Guarded View

Guarded View – Fred Wilson

This installation consists of four black, headless mannequins dressed as museum guards wear a uniform from one of four New York cultural institutions: the Jewish Museum, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Modern Art.

Medium: Sculpture; wood, paint, steel and fabric Date: 1991 Collection: Whitney Museum of American Art

Interior Scroll

© ARS, NY and DACS, London 2020

Interior Scroll – Carolee Schneemann

This print is one of several documentation works from Schneemann’s peformance in which she read aloud from a scroll of paper from her vagina.

Tate website: “Tate’s print comprises two black and white photographs of the artist on the table during the second part of the performance when she was withdrawing the scroll. A column of text on either side of the photographs elaborates the words written on the scroll. The text was taken from a super 8 film Schneemann had begun in 1973 entitled Kitch’s Last Meal. It recounts a conversation with ‘a structuralist film-maker’ in which the artist sets intuition and bodily processes, traditionally associated with ‘woman’, against traditionally ‘male’ notions of order and rationality.” (https://www.tate.org.uk/art/artworks/schneemann-interior-scroll-p13282)

Medium: Beet juice, urine and coffee on screenprint on paper Date: 1975 Collection: Tate Dimensions: (image) 90,5 x 183cm

Fen Ma + Liuming’s Lunch I

Fen Ma + Liuming’s Lunch I – Ma Liuming

This photograph is a documentation of the performance Fen-Ma Liuming’s Lunch, by Chinese artist Ma Liuming.  The artist as an androgynous alter-ego, Fen-Ma Liuming, cooked fish in a steaming pot naked and silent. The fish was served to the audience. The remains of the fish were placed back into the pot, which the artist attached (with a tube) to his penis and began sucking and breathing at the other end. 

Medium: Photograph, gelatin silver print on paper Date: 1994 Collection: Tate Dimentions: 61 x 50,8cm

Fixation

Fixation – Pyotr Pavlensky

Medium: performance, although he calls it “actions” Date: 10th of Nov. 2013 Location: Red Square, Moskow Russia

Giant phallus

Giant penis overshadowing the Saint Petersburg FSB (former KGB) headquarters (when raised) – Viona

Medium: graffiti Date: 14th of June 2010 Dimensions: 65m x 27m Location: Liteiny drawbridge St. Petersburg Russia

This Artwork has a virus

Like most other things last summer, the 59th Venice Biennale is cancelled in 2020 due to the virus that still disrupts our lives today. At the 49th (2001) Venice Biennale, another virus spread from the Slovenian Pavilion. Biennale.py; both a computer virus and a work of art created by 0100101110101101 (Eva and Franco Mattes) with de hackers group Epidemic. The Slovenian Pavilion at the Biennale’s physical space displayed two computers that infected each other reciprocally with the virus, which was readable from a large banner. The code of the virus written by Epidemic consists of computer code and natural language, giving rise to an executable program while still bearing semantic value. The work spread online too, was printed on T-shirts and recorded on CD-ROMs given to visitors. The spread of the infection, both online and print of the source code served a performative aspect.

image 1: Installation at the 49th Venice Biennale. image 2: Biennale.py source code.

To download you must turn your antivirus off

Eva and Franco Mattes created a spin-off that undergoes an eternal process of infection and disinfection Perpetual Self Dis/Infecting Machine (2001-4).

image 3: Perpetual Self Dis/Infecting Machines. Hand assembled computer, Biennale.py virus, Windows 2000, anti virus software, plexiglass 70 x 50 x 13 cm (https://0100101110101101.org/biennale-py/)

State Britain

State Britain – Mark Wallinger

A recreation of the protest camp set up by peace campaigner Brian Haw in Parliament Square in London from 2001 – 2006.

“During the fabrication of the installation it became apparent that, if taken literally, part of the Tate Britain site actually fell within the circumference of the one-kilometre exclusion zone inside which, under SOCPA’s new stipulations, protests against Parliament could not take place without police permission. To emphasise this fact, Wallinger marked a line on the floor of the galleries at the point where the exclusion zone ended, and positioned State Britain half inside and half outside the area.” – Tate

Medium: installation from wood, hardboard, cardboard, fabric, paint, printed paper, photographs and other materials Date: 2007