tsnoK

Recent contributions in this category

• Mladen Stilinovic, An artist who cannot speak English is no artist, 1992

  Not only does the banner claim that “an artist who cannot speak is no artist”, thereby pointing at the linguistic paradigm of contemporary discourse of discourse critique – a discursive tendency which tends to promote ’interesting’, discussion-based art work (or – God forbid – conversation pieces), it also claims that the artist should speak a certain language.

• Portrait of Karl Marx as a young god

  Lars-Erik Hjertström Lappalainen on a work by Gernot Wieland

  Gernot Wieland’s video Portait of Karl Marx as a young god was on display for the first time at the abc Berlin art fair last fall (2009). After having watched this hardly one minute long work, consisting of filmed drawings and a voice over, I met Wieland for a chat. It evolved into an interview. Below you find exactly what Wieland said, but also how I, having seen his work, understood him. I put it all on his account, though: he is the only one speaking, and sometimes it is just me showing my skills as a ventriloquist.

• Why didn’t Piero Manzoni use my sewing machine?

  Piero Manzoni was born on July 13th 1933 and died on February 6th 1963, therefore in 2013 will be the 50th anniversary of his death and the 80th of his birth.

  This is a transcription of Piero Manzoni’s Infinite Line with Sewing Machine, a Performance by Elena Berriolo

• Plasma

  Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood. Blood.

• A short statement on the predicament of experimental art

  By: Olav Westphalen

  The sophistication it takes to spot the difference between the real thing and the postcard version is rare among contemporary audiences. But a lack of attention needn’t be bad. Some things develop better in the shade.

• A Lapdog, NOT!

  KJARTAN SLETTEMARK BY ANNIKA ERIKSSON In 1976, the Norwegian/Swedish artist Kjartan Slettemark dressed up in a white poodle costume and walked around the opening of Malmö Konsthall. Upon the arrival of the museum director, he went to attack, biting and growling but also wagging his tail and trying to please. As a pet that not […]

• Spam chronique for tsnok “sticky eye”

  My name is Vera

  How are you today?

• Bacon and the collapse of the borderline between the joke and the sublime

  by Staffan Boije Af Gennäs

  Prague, 1990. It is the summer after the Berlin wall came down. I’m having breakfast at Hotel Jalta – a communist style luxurious establishment. Eggs, bacon, jam and toast. I’m sitting on the terrace facing Václavské námesti, the city’s main parade

• Problems with how Nature can be interpreted in artistic processes, and what I am working on at the moment

  The process is like an octopus sometimes, one of those disgusting octopuses with a big heavy occiput which looks like a cross between a fester and a water-filled balloon. In that head, in the mind, there is either a muscle visible under the skin, or else there aren´t any muscles at all, alternatively withered muscles and a lot of skin.

• The Coating by Stephen Sarrazin

  Bad Romance
  Solo Show Pascal Lièvre
  Galerie Vanessa Quang, Paris
  4 septembre-30 octobre 2010