|Geert Dekkers on Fri, 14 Sep 2007 20:26:16 +0200 (CEST)|
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|<nettime-ann> nznl.com digest, Sep 06, 2007 - Sep 12, 2007|
Sep 06, 2007 - Sep 12, 2007
Posts 1916 - 1922
macosx only screensaver at http://graphics.nznl.org/nznl_com_screensaver.dmg (>95MB)
1916. Sep 06, 2007
STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I AM)
say -v Vicki -o /Users/geert/Sites/_nznl/20070906/1.aiff I [[rate 0]]a[[rate 100]]m
say -v Bruce -o /Users/geert/Sites/_nznl/20070906/2.aiff I [[rate 0]]a[[rate 100]]m
1917. Sep 07, 2007
STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WIRE)
When I miss you, I will set my finger against the eye of the socket, elongate my finger-tip, through the socket, through the wires, through the fuse boxes, through the transformer cabinets, through the power stations, through the trans atlantic cables, through the trans pacific cables, through the power stations, through the transformer cabinets, through the fuse boxes, through the wires, through the socket, my finger-tip elongated, to you.
1918. Sep 08, 2007
INTERLUDE, 2011, INTERLUDE
1919. Sep 09, 2007
INTERLUDE, 2011, INTERLUDE
1920. Sep 10, 2007
STUDY FOR A NARRATIVE, 2010, GALLERY PIECE (ABSTRACT PAINTING)
I once showed works that consisted of framed canvasses cast in Plaster of Paris. These paintings were very beautiful, immaculately white, and very fragile. They sold well, but buyers kept complaining that the works were so very hard to keep clean. My assistent then had them sprayed with a protective layer to keep them from soiling. The covering was absolutely invisible, but when the artist discovered that the works were so changed, she withdrew the whole series and went into partnership with another gallery. Ironically, the next series she made was cast not in Plaster of Paris, but in titanium.
1921. Sep 11, 2007
STUDY FOR A NARRATIVE, 2010, GALLERY PIECE (HAIR)
I find that my appearance reflects the mode of art I show. When I do pictorial work, I have my hair loose, or even set curls. When doing abstracts, I wear my hair restrained, pulled back tightly, like the suffering Joan of Arc.
1922. Sep 12, 2007
STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AXIS)
There is one show I remember very vividly, although the show was just the one day, I never showed the artist again, and the whole show consisted of one single work. The artist demanded that the gallery space be dimmed to a very specific level of illumination, to which end extremely expensive equipment had to be brought in. When the work was set up, one ruby-red line of laser light stretched from one end of the room to the other, at crotch height. To be sure, there was actually nothing much to see. But if you and I were to both intercept the light, we would be mysteriously and irresistably drawn together. I think of this show every day.
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