INSTALLATION ART

 

"A HISTORY IN 6 VOLUMES". "slovo khudojhnika / the word of the artist".
Site-responsive installation, Residenz, Kronstadt, St Petersburg, 2003. Old History Books, paper, bread, salt, earth, wood.

Exhibited together with "Mosti - the bridges of St Petersburg" video installation, in the Storehouse, Kronstadt:

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NIGHT - EXTERIOR - SITE-SPECIFIC 2001

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LOST - OBJECTS, WIND, NATURAL LIGHT AND SEASONAL FLUCTUATIONS, VIDEO
- SITE-SPECIFIC - 2000

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THE DEVIL IS RIGHT BEHIND YOU - SLIDES, OBJECTS - SITE-SPECIFIC 1997

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CRITIQUE OF EVERYDAY LIFE - OBJECTS, VIDEO 1997

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THAMES OKA PROJECT, COLLABORATION LUNA NERA AND DIRIZHABLE
SLIDES, OBJECTS, VIDEO 2000
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WORK ETHIC/CAFFEINE AND SUGAR - METAL, STYROFOAM, PLASTIC, WOOD, COFFEE, SUGAR 2002
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Assemblage with Angel. Found objects and piece of proscenium, Old Colosseum Theatre, London 1997
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Photo-installation of images taken of hidden places at disused Princelet Street synagogue, London, 2000.
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Interior study, ruined cinema. Ozerki, St Petersburg. Here the ruin of fire and weather has created dramatic textures, shapes and patinas.

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"Psychiatric Sentence " Weimar 2003. Found object (Stretcher) and video projection. Site specific, made in former psychiatric hospital in northeastern area of Weimar across from the notorious Gauforum and exhibited next door in former tram depot. Collaborative work with Julian Ronnefeldt with sound by Digjital Riot and assistance from Pearl Gluck and Sandrine Albert.
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"Painting Machine" Collaboration with Luna Nera Group( Sandrine Albert, Julian Ronnefeldt, Ben Foot, Valentina Floris; with Milo Taylor).
This work was made for the 2003 DADA Festival in Zurich, in the Sihlpapierfabrik a paper-factory complex in the southwest of the city. The installation was made and used in a live art performance/demonstration of the machine.
The work explores Tzara's idea of the human machine, and is also influenced by an idea of Rousell in 1912 & never built. What Rousell foresaw was our present state of existence where commercial patterns are being "invented" by machines, computers create mind boggling patterns and pets are robots. The paint machine we built reflects our state of existence, of society's spiritual bankruptcy, where in this net the artist is entangled like a puppet to produce in order to please. At the same time the paint machine is not only there to represent the artist but all humans as part of a greater machine, producing in order to exist and vice versa - existing in order to produce.
The machine is still in operation in the Sihlpapierfabrik.

© 2003 Gillian McIver
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