LIVE WINDOW DRESSING 2010
Which is the most provocative: the curiosity to look into a neighbour's window, or the window which lures us to look in?
Performance
Tea Leaf Arts - March 2011
LIVE WINDOW DRESSING 2010
Which is the most provocative: the curiosity to look into a neighbour's window, or the window which lures us to look in?
Performance
Tea Leaf Arts - March 2011
MOBILE TALKS - TEXT 2010
- It's not too bad
- I'm doing the 50/50 again and getting lots of work
- I finally birded up
- Part time TV
- How's Joe?
- At least you're in London
- How's the evening going?
- Oh, you went out with the guy, didn't you?
- Yeah, I meant you didn't
- Oh, wow, that sounds brilliant, I want a job like that!
Masking tape & pen on wall
Tea Leaf Arts - December 2010
MOBILE TALKS - OPEN MIC 2010
Open Mic Event - Reading of mobile phone conversations, collected on London’s public transport between 2009/2010.
Tea Leaf Arts Gallery - Oct 2010
THE SERVIETTE - 2009
This is the documentation of an awful accident, which took place in a two stars Michellin restaurant in London, in 2009.
A glass of Petrus 1988, the most expensive red wine in the world - over £900 a bottle - was spilt over a guest cotton napkin by the premise's maitre who was not sacked but is still paying for the debt.
Media: Cotton table napkin, Vintage 1988 Petrus, Vintage passe-partout and Vintage wooden frame.
Part of "Advent Calendar" project with Tea Leaf Arts, shown at "Degustation".
December 2009
1&0s
The stills are a documentation of the installation called 1&0s.
The creation of the binary system is the birth of digital technology as it allows the simplification of information processing.
1&0s is about the already invisible presence of digital technology and how it is acting on our lives.
It is especially about how this new technological concept is pervasive, how it does not ask for consent and therefore avoidance is futile.
Site-specific installation
London - July 2009
DO AS I SAY...(NOT AS I DO) 2008
The exploration of non-intention
(John Cage)
The performance was about writing a statement about my practice, so practice became the statement that became practice.
My notes were supposed to be the basis of this performance but I did not want them to be the performance itself, otherwise it was going to be a copy of my writings, a staged play, a rehearsed script... without the flaws of unintentional occurrences.
The point of the performance was to allow the unexpected to happen. I wanted it to be alive while making it and I wanted it to have all the tiny imperfections that make any live performance so intense.
July 2008
DO AS I SAY...(NOT AS I DO) 2008
The exploration of non-intention
(John Cage)
The performance was about writing a statement about my practice, so practice became the statement that became practice.
My notes were supposed to be the basis of this performance but I did not want them to be the performance itself, otherwise it was going to be a copy of my writings, a staged play, a rehearsed script... without the flaws of unintentional occurrences.
The point of the performance was to allow the unexpected to happen. I wanted it to be alive while making it and I wanted it to have all the tiny imperfections that make any live performance so intense.
July 2008
UNSAVED DRAWING - 2007
This video was made whilst I was working at an Exchange Bureau in Oxford Street - London. I was dead bored of working there. It was Christmas time, I could hear the sound of the busy road but could not see it.
The video reflects that boredom and that resilience of keep on going. It shows the contrast of time spent in making the drawing itself and life just happening on this high-street.
The fact that the drawing only mattered whilst it was being created challenges our perception of purpose and of meaning in our own lives.
PROJECT SIMULTANEITY - S01-D506 2006
This is a visual story about something that has never happened and never will, with images collected from volunteers from different parts of the world: UK, Italy, Australia... I never took the pictures myself.
The images are about the volunteers' ordinary lives, just shooting anything that they felt was interesting - it didn't matter what, where and the quality - but all of them were taken on the 5h December 2006.
My goal is to emphasise how we are connected to each other and to the world. It's a visual story about everyone at the same time.
December 2006
PROJECT SIMULTANEITY - NYRT 2006
...The disposition of 171 alarm clocks in 9 rows representing the meridians refers to the spatial dimension of time and the creation of anachronisms in the process of globalization. The unifying net of meridians is imposed on different perspectives and experiences of time throughout the world and creates the illusion of one time that everybody takes part in but which in reality is more exclusive than integrative.
Kai Schupke - curator NYRT
Site-specific Installation at New York Rio Tokyo Gallery
Berlin - July 2006
PROJECT SIMULTANEITY - NYRT 2006
...The disposition of 171 alarm clocks in 9 rows representing the meridians refers to the spatial dimension of time and the creation of anachronisms in the process of globalization. The unifying net of meridians is imposed on different perspectives and experiences of time throughout the world and creates the illusion of one time that everybody takes part in but which in reality is more exclusive than integrative.
Kai Schupke - curator NYRT
Site-specific Installation at New York Rio Tokyo Gallery
Berlin - July 2006
PROJECT SIMULTANEITY - NYRT 2006
...The disposition of 171 alarm clocks in 9 rows representing the meridians refers to the spatial dimension of time and the creation of anachronisms in the process of globalization. The unifying net of meridians is imposed on different perspectives and experiences of time throughout the world and creates the illusion of one time that everybody takes part in but which in reality is more exclusive than integrative.
Kai Schupke - curator NYRT
Site-specific Installation at New York Rio Tokyo Gallery
Berlin - July 2006
PROJECT SIMULTANEITY - HEBRAICA 2005
By using peepholes already available in the walls of a train station, the artwork invited the public to engage with the piece by looking through each peephole and comparing the two images - the real and the photograph itself.
It was an invitation to a momentary contemplation of the river running parallel to the railway, an analogy to the chaotic lives in modern big cities.
Site-specific Installation at Hebraica Train Station
Sao Paulo/Brazil - November 2005
PROJECT SIMULTANEITY - HEBRAICA 2005
By using peepholes already available in the walls of a train station, the artwork invited the public to engage with the piece by looking through each peephole and comparing the two images - the real and the photograph itself.
It was an invitation to a momentary contemplation of the river running parallel to the railway, an analogy to the chaotic lives in modern big cities.
Site-specific Installation at Hebraica Train Station
Sao Paulo/Brazil - November 2005
T05-0571 2005
In T05, photographic film becomes the object itself. The images are digital photographs of photographic transparency film bits - known as Test Strips - thrown in the bin by professional photographers and collected by me for a period of 5 years.
The images are in fact the scars left by light striking the photographic film whilst
photographers loaded or unloaded film into their non-digital camera. The bits were the neglected part of their everyday life.
T05-0571 featured in the FotoFest 2010 THE COLLECTOR'S EYE: Peers International exhibition by Fernando Castro - photographer, curator, critic and collector.
T05-19A 2005
In T05, photographic film becomes the object itself. The images are digital photographs of photographic transparency film bits - known as Test Strips - thrown in the bin by professional photographers and collected by me for a period of 5 years.
The images are in fact the scars left by light striking the photographic film whilst
photographers loaded or unloaded film into their non-digital camera. The bits were the neglected part of their everyday life.
T05-0514 2005
In T05, photographic film becomes the object itself. The images are digital photographs of photographic transparency film bits - known as Test Strips - thrown in the bin by professional photographers and collected by me for a period of 5 years.
The images are in fact the scars left by light striking the photographic film whilst
photographers loaded or unloaded film into their non-digital camera. The bits were the neglected part of their everyday life.
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