Harutyun Simonyan Uterus, 2002
The installation in the waiting room of Erlaufer Bahnhof is a kind of anti-monument that symbolizes the importance of the monument in relation to the collective and the individual symbolically with the terms “outside” and “inside”. In the video “Uterus”, the Armenian artist returned to a fetal state in an imaginary womb. At the same time, he transmitted the outside of the station to the interior of the waiting room via video camera.
1998 · Laser projection of Paul Virilio’s Bunker Archaeology quotes on the remains of the Atlantic Wall · Magdalena Jetelova
Judy Chicago, details from The Dinner Party
Seth Price at Museum Brandhorst
Gina Pane L’homme à la branche verte qui n’avait pas lu les Fleurs du mal. Partition pour une blessure ( The man with the green branch that hadn’t read the Flowers of Evil. Score for a wound ),1982, Color pencil on wood, color pencil on felt, color photograph, block of wood, and cone in painted iron, 170 x 80 x 80 cm (66 7/8" x 31 ½" x 31 ½")
CAMILLE HENROT
Tropics of Love
2010
Chinese ink, inkjet printing on paper, photographs
Variable dimensions
© Camille Henrot
Photo. Fabrice Seixas
Courtesy the artist and kamel mennour, Paris
JENNY HOLZER
RIB CAGE (TEXT: „BEACH WALK“ BY HENRI COLE), 2004
AN ARRAY OF EIGHT DOUBLE-SIDED CURVED CORNER LED SIGNS WITH STAINLESS STEEL HOUSINGS AND WHITE DIODES ON THE FRONT FACES AND RED DIODES ON THE BACK FACES
146,5 X 13,3 X 11,1 CM
Jala Fiahid, Bitter Pith2018Solo exhibition, Room E-10 27, Paris.
Jana Sterbak, Sisyphus III
Sarah Lucas, Communist, 2012
An Exile Dreaming of Saint Adorno
Siah Armajani, United States, 2009
“In this work, Armajani explores exile as a physical, political, and emotional condition. He quotes Alberto Giacometti’s surrealist masterpiece, The Palace at 4 a.m. (1932, pictured below), which resembles a miniature stage on which a mysterious play is being enacted. Similarly, Armajani’s cagelike structure is inhabited by a faceless figure who sleeps at a desk; outside and above, another watches. The two are frozen in this voyeuristic tableau, forever separated by the sculpture’s closed doors and glass walls. Armajani’s title references Theodor Adorno, the German philosopher who fled his native country during the Nazi regime. For him, exile was an ethical choice. As he wrote, “It is part of morality not to be at home in one’s home.” Medium:Glass, laminated maple, wood, paint, Plexiglas, copper, metal, clothing, fabric, plaster”
–Artifizz
Doris Salcedo
Nov 7, 4 pm
280 wooden chairs and rope
Dimensions variable
Site-specific work, Palace of Justice, Bogotá, 2002
Some 280 wooden chairs were lowered from the roof of the Palace of Justice in Bogotá on the 17th anniversary of the siege of the Palace by M-19 guerrillas and the government’s counterattack in 1985.Noviembre 6 y 7, 2002
Little Bristling Soul 