Loopdeeloops

Random musings on the graphics tablet

Animation drawings

Projection Documentation

Kelly Reichardt

Old Joy (2006)



Wendy and Lucy (2008)



reichardt interview

St. Catherine's Animation

Archive Photography Thomas Street

Location shots St. Catherine's Animation

St. Catherine's animation research

Robert Emmet

Drawing of a public execution on Thomas Street, Dublin

Drawing of a public execution on Thomas Street, Dublin. This picture is showing the historical gallows outside St. Catherine's church where Robert Emmet was executed in 1798.

Dublin ghost stories



She is Far from the Land

She is far from the land, where her young hero sleeps,
And lovers are round her, sighing;
But coldly she turns from their gaze, and weeps,
For her heart in his grave is lying!

She sings the wild song of her dear native plains,
Every note which he lov'd awaking
Ah! little they think, who delight in her strains,
How the heart of the Minstrel is breaking!

He had lov'd for his love, for his country he died,
They were all that to life had entwin'd him,
Nor soon shall the tears of his country be dried,
Nor long will his love stay behind him.

Oh! make her a grave, where the sun-beams rest,
When they promise a glorious morrow;
They'll shine o'er her sleep, like a smile from the West,
From her own lov'd Island of sorrow!

Thomas Moore

www.robertemmet.org

The Speech from the Dock

What have I to say why sentence of death should not be pronounced on me according to law? I have nothing to say that can alter your predetermination, nor that it will become me to say with any view to the mitigation of that sentence which you are here to pronounce, and I must abide by. But I have that to say which interests me more than life, and which you have labored (as was necessarily your office in the present circumstances of this oppressed country) to destroy. I have much to say why my reputation should be rescued from the load of false accusation and calumny which has been heaped upon it. I do not imagine that, seated where you are, your minds can be so free from impurity as to receive the least impression from what I am going to utter--I have no hopes that I can anchor my character in the breast of a court constituted and trammeled as this is--I only wish, and it is the utmost I expect, that your lordships may suffer it to float down your memories untainted by the foul breath of prejudice, until it finds some more hospitable harbor to shelter it from the storm by which it is at present buffeted.

Was I only to suffer death after being adjudged guilty by your tribunal, I should bow in silence and meet the fate that awaits me without a murmur; but the sentence of law which delivers my body to the executioner will, through the ministry of that law, labor in its own vindication to consign my character to obloquy--for there must be guilt somewhere: whether in the sentence of the court in the catastrophe, posterity must determine. A man in my situation, my lords, has not only to encounter the difficulties of fortune. and the force of power over minds which it has corrupted or subjugated. but the difficulties of established prejudice: the man dies, but his memory lives. That mine may not perish, that it may live in the respect of my countrymen, I seize upon this opportunity to vindicate myself from some of the charges alleged against me. When my spirit shall be wafted to a more friendly port; when my shade shall have joined the bands of those martyred heroes who have shed their blood on the scaffold and in the field, in defense of their country and of virtue. this is my hope: I wish that my memory and name may animate those who survive me, while I look down with complacency on the destruction of that perfidious government which upholds its domination by blasphemy of the Most High-which displays its power over man as over the beasts of the forest-which sets man upon his brother, and lifts his hand in the name of God against the throat of his fellow who believes or doubts a little more or a little less than the government standard--a government which is steeled to barbarity by the cries of the orphans and the tears of the widows which it has made...

My lords, you are impatient for the sacrifice-the blood which you seek is not congealed by the artificial terrors which surround your victim; it circulates warmly and unruffled, through the channels which God created for noble purposes. but which you are bent to destroy. for purposes so grievous. that they cry to heaven. Be yet patient! I have but a few words more to say. I am going to my cold and silent grave: my lamp of life is nearly e4inguished: my race is run: the grave opens to receive me, and I sink into its bosom! I have but one request to ask at my departure from this world--it is the charity of its silence! Let no man write my epitaph: for as no man who knows my motives dare now vindicate them. let not prejudice or ignorance asperse them. Let them and me repose in obscurity and peace, and my tomb remain uninscribed, until other times, and other men, can do justice to my character; when my country takes her place among the nations of the earth, then, and not till then, let my epitaph be written. I have done.

Research for Liberties Public Art: Animating the Space Project

http://www.archiseek.com/

thread on the architecture of Thomas St.

A walking tour of the liberties area

Maps, Files and Ephemera

information about medieval dublin

article about Frawley's demolition

Planning Documents for the demolition of 32-36 Thomas Street, and 10 Hanbury Lane, D8

article on plans for 'no-star' hotel next to vicar st.




http://www.archiseek.com/content/showthread.php?t=6318&page=8

Let's Talk About the Rain (2008)

written and directed by Agnes Jaoui. French film exploring relationships, politics, and the weather.

Photography Research for Liberties Project

Eve Arnold



Bruce Davidson





Inge Morath

Doug Doubois

Test Shots for Liberties Project

Irish Artists brought up in Joint Course

Bea McMahon




McMahon mostly uses video and small drawings to articulate her ideas which weave a strange and boundless path between an inner reality of thought and the ordinary outside world, a world in which her version of events have a somewhat hallucinogenic feel. Even though her practice does not subscribe to an obvious visual lexicon of science, it does rely on thought process she learnt through the study of mathematics – one which exists in a state of logic and before language. Her work forces little gaps to open up, or makes a life moment to come apart into two distinct things, one of which gives way to the other, whilst retaining the memory of the world as it was before. She has chosen, simply for reasons of aptitude, visual art as a medium to explore this process – a thought process which Werner Heisenberg describes as ‘not a precise language in which one could use the normal logical patterns; it is a language that produces pictures in our mind, but together with them the notion is that the pictures have only a vague connection with reality, that they represent only a tendency toward reality’ . In her work is a withdrawal from the search to expose underlying structure towards a position that the action of thinking and feeling is an active force generating the underlying structure.

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The Bea McMahon piece we watched in the lecture was called Audience and was a short video showing someone playing a snail-infested piano. Exploring the interference attached to the making of art, or on a broader scale the interactions between actor and subject, questions of ethics and responsibility arose. Was it cruel to use snails (involuntary participants) for the sake of art?

Grace Weir



still from Turning Point


Grace Weir studied at the National College of Art and Design and also at Trinity College Dublin, where she won an award for her Masters in Multi-Media graduation project. She co-represented Ireland at the 49th International Venice Biennale in 2001 with her video installation 'around now'. She has exhibited widely both nationally and internationally, most recently seen in 'Biennale! Artist film and video' at Temporarycontemporary in London, ‘As Heavy as the Heavens' at Kunsthallen Brandts Klaedefabrik, in Denmark, 'Tir na nOg' at the Irish Museum of Modern Art , Missing Time at the Agnès b. cinema in Hong Kong, 'Flights of Reality' at Kettles Yard Cambridge UK, in 'Are we there yet'? at Glassbox in Paris, France, and at her solo exhibition at the John Curtin Gallery in Perth, Australia in 2002, and at the RHA Gallery in Dublin in 2000. In 2002 she was commissioned by NIFCA, the Nordic Institute of Contemporary Art in Helsinki Finland to make an interactive work ‘Little Bang' for their online gallery at www.ionic.nifca.org. Grace Weir collaborated with an astrophysicist exploring aspects of Einstein's relativity and was commissioned by Cornerhouse in Manchester UK to make two film works ‘Dust defying gravity' and ‘Bending spacetime in the basement' in regard to this. They were premiered at her solo show titled ‘a fine line' at Cornerhouse, Manchester UK in September 2003. In May 2005 she was elected a member of Aosdána. Her work is held in many collections including that of the Irish Museum of Modern Art.

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In relation to her work 'the Turning Point', our class discussion turned to the framing of shots and its importance in conveying intention. The link between science and art also came up, as most of Grace Weir's work focuses on 'humanising' this relationship.

Jaki Irvine



still from Room Acoustics Revisited

Irvine currently lives and works in Dublin having spent many years in London and some time in Italy. Her works in film and video, whether in single-screen format or in more complex multi-screen installations, weave together enticing, though ultimately elusive narratives in which image, voice-over and musical score variously overlap, coalesce and diverge. These languid explorations of human interaction with the natural world, the built environment, and with other humans are suffused with a melancholic lyricism and leavened by a dark, dreamlike humour. Subjectivities split and fragment as the boundaries that separate self from other, or human from animal, become fluid or permeable. In 1995 Irvine was included in the seminal exhibition of Young British Artists, General Release, at the Venice Biennale, and she represented Ireland at the 1997 Biennale.

Her solo exhibitions include shows at Project Arts Centre (1996) and the Douglas Hyde Gallery (1999) in Dublin, Frith Street Gallery (1997, 1999) and Delfina Project Space (2001) in London, and the Staatliche Kunsthalle in Baden-Baden, Germany (1998). She has also participated in numerous group shows throughout Europe, Australia and Japan including Sonsbeek International, Arnhem (1993), NoWhere Louisiana Museum of Modern Art, Denmark (1996), White Noise, Bern Kunsthalle, (1998), Intelligence, Tate Britain (2000) and Shifting Ground: 50 Years of Irish Art at the Irish Museum of Modern Art (IMMA) (2000). A major new work, The Silver Bridge, is due to be exhibited at IMMA in Spring, 2004. Irvine is represented in the collections of IMMA, the British Council and in numerous other collections, both public and private.


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Again, we spoke about her work in relation to filming technique and framing used to convey a particular intent. In Room Acoustics Revisited, Irvine addresses the issue of semiotics and meaning; she uses sheet music as an example of seeing the world 'through a straw'. Limitations of depiction and representation manifest themselves intentionally in the style of the piece, as Irvine plays with the audience and their interaction with the visual and the conceptual sides of her work.

Isabel Nolan




Dublin: Isabel Nolan at Project

And so it stays just on the edge of vision
A small unfocused blur, a standing chill.1

In his poem Aubade, Philip Larkin reflects upon the impending inevitability of death in the lonely darkness of night. He describes the moving shapes that haunt the corners of his vision. As daylight slowly strengthens, his bedroom returns to its normal shape and the presences of the previous night seem strange and out of place.

Everything I said let me explain is the title of Isabel Nolan's recent exhibition at the Project Arts Centre, Dublin. The show is a visual exploration of the thoughts and shapes that occupy the mind at night. Like Larkin, Nolan attempts to interpret how these presences morph and change, grow bright and disappear in order to be felt and understood.

One of the seven artists from the Republic of Ireland selected for this year's Venice Biennale, Nolan's work is primarily concerned with forms of representation and addresses the difficulty of attaching meaning to experience. In this exhibition, drawing is the main discipline through which she expresses her experiences of the night. Along the gallery wall, which was painted a light grey in order to soften the sterilised white, small drawings and paintings explore the shifting shapes of the night-time presence. Many of these shapes have a repeated circular motif, others are more angular. In the centre of the gallery, two mahogany tables present a series of portraits of sleeping faces and another collection of night-time shapes.

Torn from a notebook, these drawings are placed under heavy sheets of glass. They seem to be floating over the dark table top and have an abandoned, spontaneous beauty. Also on the table, a small silver screen plays a short DVD entitled Quiet please, in which most of the drawings on show are animated into a short film. This film begins with a sequence of sleeping portraits and shape drawings. The images are occasionally interrupted with fragments of handwritten text which refer to night-time thoughts. The thoughts shift from simple descriptions - "These presences vary in size, but are never very big" - to more intimate personal reflections - "How could you know what or who you are?"

As the text grows increasingly reflective, the night-time shapes begin to multiply, becoming larger on the screen, filling it completely before receding back into pulsating circles of orange, red and green. Flickering and shimmering, they are the colours seen when you close your eyes.

The tenderness Nolan expresses towards her slumbering subjects is almost palpable in her delicate Sleep sequence drawings, most especially in Sleeping dog. Whilst the exhibition offers many glimpses of intimate narratives, it simultaneously uses tools to prevent the viewer from fully absorbing them. The glass upon the table top or the newsprint that covers the text in Available ensures that elements of Nolan's night-time experiences remain private, almost contradictory.

This contradiction, between the physical intimacy of lying next to someone and the sense of distance experienced when they sleep, is prevalent in the show. Nolan has created a strong visual metaphor for the unaccountable phenomenon that separates two people, even as they lie side by side. Her drawings are an expression of the difference between distance and proximity, sleep and consciousness.

Ciara Healy is an artist and writer based at Pallas Studios; she is currently completing her Ph.D. in Irish curatorial policy at Dublin Institute of Technology.

Isabel Nolan: Everything I said let me explain, Project Arts Centre, Dublin, March - May 2005

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Links

Sexy People (blog that collects 70s, 80s and 90s portraits)

Rhizome art community site linked to the New Museum of Contemporary Art

Faund magazine which publishes a collection of images found on the internet. Each issue has different contributors.

(Caos Calmo) Quiet Chaos- Antonio Luigi Grimaldi (2008)

Italian film portraying a man's response to his wife's death. Quietly humorous, simultaneously sad, it explores how a father and daughter cope with their sudden bereavement, uncovering the public expectations of grief and the actual individual reactions to death. There were a few subplots thrown in, with attention also being drawn to the absurd demands and consequences of business deals, and the relationships between the parties involved in death and mergers. The film has quite a psychological approach, and sometimes views as a therapy session outside of the doctor's office.

Studio Reactions

Bryan reacting to the camera in studio



Dave reacting to the camera in studio



Elizabeth reacting to her image on the camera screen, 'looking' at the Guernica in studio



Grace reacting to her image on the camera screen



Siobhan reacting to the camera in studio



Collective screening of the reaction videos (random idea- probably not going to use in relation to project)

Reactions edited

These are reactions edited to focus on expressions. The videos are reactions to the the reactions recorded of dave and grace last week. These are just experiments, I will stick with the static shot for the actual project videos.

Anaelle Reacting/Blinking to Dave's Reaction Video



Laura Reacting to Grace's Reaction Video/Looking up at Simon



Michelle Reacting to Grace's Reaction Video

Buddha Collapsed Out of Shame (2007)

Directed by Hana Makhmalbaf. Iranian film about a young girl who wants to go to school.

Video Reactions

Dave Reacting to Jackson Pollock Painting



Grace Reacting to Stan Brakhage Mothlight

La Jetee- Chris Marker

I watched this the other day, and had never seen anything like it before. In a way, it reminded me of delicatessen by Marc Caro and Jean-Pierre Jeunet, but probably only due to the subject matter.

Set in underground post-apocalyptic Paris, la jetee is a photographic story following the time-travel experiments exercised on a prisoner of the surviving population of the french capital.

Here it is in full on youtube, and the trailer to delicatessen.

Beautiful Losers

Interrupting the Screen Project: Video Reactions (Tests)

I used iShowU at first, but the watermark was too intrusive in the demo. I switched to Screen Mimic, although I'd probably use iShowU if I could get access to the full program.

The first video I recorded with Screen Mimic (which I won't upload because the file size is inexplicably big) is a recorded reaction of me watching a video on William S. Burroughs on youtube. (There's a time limit on recordings in the demo version of Screen Mimic, so videos will only be 30 seconds for the trials.) Also in this first recording, I didn't realise there was a watermark on the Screen Mimic demo recordings as well, so my position on screen isn't ideal.

The second video is a reaction to the first 30 seconds of Un Chien Andalou.



The third video is a reaction to the second recorded reaction.



The fourth video is a reaction to the third video.

Visit to IMMA 19/10/08

Exquisite Corpse

Exquisite Corpse is an exhibition of 17 works from the IMMA Collection that seeks to reveal a variety of perspectives on the Collection. The title of the exhibition is drawn from the game ‘Exquisite Corpse’ which was invented by the Surrealists in 1925 where a collection of words or images are collectively assembled. In this case the game’s structure is used to tap into the eclectic character of IMMA’s Collection through the choices and viewpoints of individuals from a broad spectrum of the arts including Dawn Ades, Gerald Barry, Aileen Corkery, Barrie Cooke, Michael Craig-Martin, Mark Garry, Deirdre Horgan, Jaki Irvine, Nicola Lees, Tony Magennis, Lisa Moran, Frances Morris, Colm Tóibín and Mick Wilson.
The ‘exquisite corpse’ principle provides a framework for the exhibition, with each participant selecting a work that responds to the work selected by the previous participant. Following the Surrealists’ methodology participants are only aware of the work that is selected immediately before them. The nature of the exhibition is that the final outcome of the show is largely unpredictable and partly determined by chance. However, it is likely that the exhibition will include a wide selection of works ranging from different eras made in a variety of media. While Exquisite Corpse depends on the participants’ having some previous experience of IMMA’s Collection, their knowledge of the collection will have developed individually and may be haphazardly constructed. As a result, their curatorial choices will inevitably be highly subjective, a point that affords the opportunity of revealing perceptions of IMMA and the audience’s experience of its Collection. source

Self as Selves




Self as Selves is an exhibition of works from the IMMA Collection which explores the nature of ‘self’, as being a series of transitory states, always provisional, never fixed. The selected works invoke intersecting notions of self – internal and external, corporeal and conceptual, personal and collective.

The exhibition wishes to address this premise not only in terms of what certain artworks may suggest about their maker’s investigation of self but also to what extent they implicate the viewer in a reciprocal flow of shifting states. To varying degrees the selected works summon the viewer’s participation for their completion, thereby eliciting a range of selves or ‘roles’ through which the viewer may consider their own subjectivity and the nature of their looking.
The artists included in this exhibition are: Marina Abramovic, Janine Antoni, Fergus Byrne, Maud Cotter, Gerard Dillon, Marcel Duchamp, Fiona Hallinan and Caoimhin O’Rathaillaigh, Ellen Gallagher, Antony Gormley, Ann Hamilton, Brian O’Doherty/Patrick Ireland, Dusan Kusmic, Julio Le Parc, Juan Muñoz, Isabel Nolan, Hermione Wiltshire and Paul Winstanley

Curatorially, this exhibition has evolved from a preceding IMMA event, The Burial of Patrick Ireland, which saw the ritualised disposal of an artistic persona with a wake, funeral and burial in the grounds of the museum. Throughout his career as an artist and a writer, Brian O’Doherty/Patrick Ireland has invoked several aliases through which he has explored the nature of identity and the notion of self as more than a singularity. source

Interrupting the Screen Project Development

Interrupting the Screen Project

Basically what I want to do with this project is examine the role the audience plays in creating the artwork. I'm going to take this very literally and make the audience the artwork.

I want to create an installation which consists of 3 or 4 'white cubes'. in these cubes, video loops will be playing, triggered by the viewer coming into the space. On these loops, recordings of reactions to another video will be playing. The videos on show will be 'placebo' videos; in one of the cubes, the viewer watching the loop will be filmed. His reaction will then be streamed into one of the other cubes, so as to leave the viewer unaware he was being filmed.

I'll be using isadora and final cut pro, but given the time limits, i probably won't be able to realize my idea in its entirety. I hope to have about 4 placebo videos shot, and optimistically speaking i'll be able to create a prototype of the white cubes.

Research for Interrupting the Screen Project

Harun Farocki

Underscoring the political and ideological function of image-making, Farocki's films often combine newsreel, archival, and industrial/technological footage with text or voice narrative in the form of "film-essays."

The subject of retrospectives at the Museum of Modern Art (199) and the Westfalischer Kunstverein (2001), Farocki has stated about his films:

"One must work with existing images in such a way that they become new. There are many ways to do this. Mine is to look for buried meaning and to clear away the debris lying on top of the pictures. In doing so, I try not to add ideas to the film; I try to think in film so that the ideas come out of filmic articulation."

. . .

"Eye/Machine addresses the automation of images in the present era of "smart machines," "smart bombs," and person-less cameras. Deriving from military technology, the first automated images were those photographs taken from airplanes to measure the accuracy of missile drops in World War II. Eye/Machine charts a kind of geneaology from this moment to the current ubiquity of mechanized imaging in the technological and commercial sectors. This film's "launching" image is a grainy black-and-white picture of an airstrip seen through an automated viewfinder. Beneath it, a subtitle reads: "Images like these could be seen in 1991 - of the wart against Iraq/Operational images/Not Propaganda, ye an ad for intelligent machines."

Source: GreeneNaftali Gallery, NYC. Eye/Machine courtesy GreeneNaftali Gallery.
Source

Marie Sester

Marie Sester is a French media artist based in Los Angeles. She began her career as an architect, having earned her master's degree from the Ecole d'Architecture in Strasbourg. Her interest, however, shifted from how to build living structures to how architecture and ideology affect our understanding of the world. Her work investigates the way a civilization originates and creates its forms. These forms are both tangible -such as signals, buildings, and cities- and intangible, such as the aspects of values, laws and culture.

Quoting a profile of Sester written by Holly Willis: "What do these signs, these forms, these things that surround us mean?�? asks the artist. "What do they say about ideology? About capitalism? I realized after I finished my degree that I was interested in architectural forms on all levels, from the concrete elements such as city streets to ideological values, and how they evolve together.�? Marie Sester has received grants and residencies from the IAMAS, in Japan, Creative Capital Foundation, New York, Eyebeam, New York and many others. She has taught in France, Japan, and the United States and has exhibited internationally at SIGGRAPH, Ars Electronica (in the 2003 edition of the festival ACCESS received an Honorary Mention in Interactive Art), La Vilette, etc.

A few months ago, i was visiting the ZKM and i knew her work ACCESS was exhibited there. I had read what the work was about and was expecting to find it in the entrance lobby but i never suspected i'd be so startled and disturbed by it. ACCESS is a robotic spotlight and acoustic beam system that tracks individuals in public places. The beam is either activated as people move through the space under surveillance, or it is piloted remotely using a Web interface. While a friend of mine found the installation quite fun, I felt surprisingly guilty and isolated under that spotlight, exactly what i'd feel if i remembered that i'm under the gaze of surveillance cameras much about everytime i step out of my house. The experience taught me that i should never judge any interactive installation before having tested it myself.

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What Makes a Great Portrait?

Rineke Dijkstra

I came across this article, which is a compilation of responses to the question 'what makes a great portrait?' There's some interesting mentions of existing portraits, and there's a lot of alluding to an unidentifiable, human quality in successful pictures which I am very interested in exploring further myself.

here's the link to the article: http://www.jmcolberg.com/weblog/2008/02/what_makes_a_great_portrait.html

and here's some links to photographers mentioned in it:

Kelly Krabill http://www.flickr.com/photos/27241164@N06/

Chris Buck: www.chrisbuck.com

Doug Dubois: www.dougdubois.com (I especially like his family photos, and the series about the parade)

Richard Avedon: www.richardavedon.com

Arnold Newman: http://www.pdngallery.com/legends/newman/

Rineke Dijkstra: http://www.rinekedijkstra.net/

Gregory Crewdson: http://www.luhringaugustine.com/index.php?mode=artists&object_id=66#


Gregory Crewdson

Books I am Reading and Want to Read

Gary Shapiro: Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying

Katy McLeod nad Lin Holdridge (eds.): Thinking through Art:reflections on art as research

Oswald Hanfling: Ayer

Thomas More: Utopia

Lewis Hyde: The Gift

Polaroids of the Day

Visit to Museum of Photography in The Hague, 27/09/08

We went to the museum mainly to go see the Erwin Olaf exhibition, a cumulative collection of 4 of his photographic series, Rain, Hope, Grief and Fall. There were 2 video pieces as well, one accompanying Rain and one as an individual piece satirically commentating on fashion and plastic surgery.

The first series on show, Rain, was initially meant to depict American culture, read 1950's ideals, in all its glory. Instead, in the process of taking the photographs, he experienced a disconnection between the idea and the subject. Thus he decided to use rain as a visual metaphor for this break between the ideal and the people it was supposed to envelop.





The second series, Hope, basically takes off where Rain ended. It offers similar scenes, yet instead of the photographs demonstrating a static image, they lend themselves to storytelling and 'reaching beyond' the photo. Their meant to be seen as a window into a story, and it is left up to the viewer to carry the plot forth. Also, unlike the previous series, this one includes individual portraits, allowing to develop characters further.





My favorite series of the lot is Grief, capturing moments before the explosion of emotion. It also examines how one's identity, how you dress, body language, etc, is relational. The pictures are all named after famous American figures, such as Troy and Grace.









The final series, Fall, just like Rain, stumbled upon it's intent by accident. Olaf caught one of his models during a photoshoot blinking, creating an imperfect image in one which was so tweaked otherwise that it became an interesting relationship. By catching the moment of blinking, the models were left expressionless, negating any hint of emotion or awareness of surroundings. Interesting concept, although I thought it was slightly over-stylized.






Here's his website: http://www.erwinolaf.com/

We also saw an exhibition by Thorsten Brinkmann, a German artist working with found objects, using them to comment on the relationship between man and object, and the disposability of present day products. True Romans was a collection of found objects coupled together, for example a glass with a rose-shaped candle turned upside down into the glass. There was also a photo series called Variable Sturktur 1-8, which cataloged a few possible ways of assembling a set of objects including a cooker. There was also an isolated room which you had to enter through a wardrobe; it contained a number of (self?) portraits in which the human subject was 'wearing' things such as lampshades. There was also a video piece entitled "gut Ding will es so' which saw the artist interacting with things in a way which didn't cohere with their intended function (for example, he crawled through the arms of an office chair, subsequently shuffling around on all fours with a chair around his waist. Also, he smacked four pieces of polystyrene foam against his head whilst wearing a motorcycle helmet).