Christian Philipp Müller – Histories in Conflict: Haus der Kunst and the Ideological Uses of Art.
Christian Philipp Müller – Green Border.
For the 45th Venice Biennale in 1993, commissioner Peter Weibel invited Austrian artist Gerwald Rockenschaub to exhibit in the Austrian pavilion, proposing collaboration with non-Austrian artists as well. The invitations issued to Andrea Fraser (USA) and Christian Philipp Müller (Switzerland) broke the tradition of national competition that had been the guiding principle of the Venice Biennale since 1895. Rockenschaub occupied the central room of the pavilion and made this location the subject of his work; Müller and Fraser took the side wings. Fraser’s theme was the occasion, the Biennale itself, while Müller’s was the patron, the Austrian state.
12 February 2013
Just putting together a listing of cinema and TV that have at least something to do with a culture of fear – and perhaps in some more recent cases either comment directly on paranoia and security – or in others contribute to an overall social unease. My curiosity is NOT just with representations of surveillance in Hollywood film – like the use of (fake) CCTV footage within their narratives, BUT the way their premise is developing a rhetorics of surveillance and paranoia. An obvious reference would be Thomas Y. Levin – his thoughts on contemporary Hollywood and its fascination with imag(in)ing video surveillance. a good reference: Black, J. (2002) The Reality Effect: Film Culture and the Graphic Imperative, NYTHE FILMS. Also Video Surveillance in Hollywood Movies, Dietmar Kammerer
- Tony Scott – Enemy of the State
- Steven Spielberg – Minority Report
- and the cheezy – Panic Room – David Fincher
- Time Code (2000) Mike Figgis: very much about surveillance
- Rope (of course) Hitchcock
- The Conversation – (1974) Coppola with Gean Hackney
- Enemy of the State (1998)
- The Truman Show (1998) – Peter Weir
- Wag The Dog (1997) Benny Levinson
- Snake Eyes – DePalma (1998?)
- Sliver – (1993) Philip Noyce
- Menace to Society (1 & II) – Hughes (1992??)
- Call Northside 777 (1948) Hathaway
- Manchurian Candidate (original & remake)
- Seven days in May – with good old burt lancaster
- Elephant – fantastic – on the HS shootings
- Blow Up, Michelangelo Antonioni — YES – weirdly engaging scene in the park
- Chelsea Girls, Andy Warhol (1966) – maybe
- I Thought I Saw Prisoners, Harun Farocki (2000) – powerful
- Lost Highway, David Lynch – can’t leave that one out
thats all for now folks .. any contributions to the list are MOST welcome
3 November 2012
“Happy New Fear” from BUREAU Mario Lombardo. See vimeo doco of his work in the Berlin Biennale earlier this year at (july 2012). Mario Lombardo’s work “forget fear”- his site
29 October 2012
McMillian’s multi-disciplinary practice examines issues around the politics of subjectivity and cultural histories. His exhibition, Prospect Ave., is named after the artist’s previous residence of ten years, choosing this as subject because home represents one location where subjectivities are constructed, lived and performed. Various mediums are employed to dismantle notions of a fixed subjectivity and to challenge the narratives that we have woven for ourselves. Allusions to science fiction appear throughout the exhibition, offering both an alternative strategy to systems and structures that exist now as well as perspectives not rooted in a linear understanding of history or form.
A tunnel-like environment spans the entire gallery length, composed of various works the artist has made over the last three years. It commences with a large black vinyl piece, “a state of kemmering in the Council-era of corrosion”, which McMillian has sewn by-hand, bridging the idea of physical space and the body encompassing the walls and ceiling above. Materials appropriated from the artist’s residence were used in making carpet paintings and sculpture; landscape paintings create an exit in the back of the gallery. McMillian employs such strategies to interrogate class inequities within a modernist tradition. Dissecting post-consumer objects and using history as a readymade within the gallery realm, McMillian reevaluates the states of being, found inside and out of the mind. “We ain’t dead said the children don’t believe it/We just made ourselves invisible/underwater, stove-top, blue flame scientist come out with your scales up/get baptized in the ocean of the hungry.” (E. Badu)
28 October 2012
This is definitely not me after 4 hrs of butoh class at THE CAVE NYC. I was so stiff. My mind is flexible – the body forget it.
This is definitely not me after 4 hrs of butoh class at THE CAVE NYC. I was so stiff. My mind is flexible – the body forget it.
at dia beacon along the hudson river.