@ Fb
- 7OoJ2MyeLC
- any title you like 2
- assembly line
- #DoorOnLinnahall ∞
- Situation of Artistic Discussion 1,d Berlin Tallinn
1 — with Anna Shkodenko
2 — with EKA students
t — temporarily sheltered outside this page
d — not all material available yet
interface is the artificial differentiation between two media (A.R. Galloway)
yellow from google books
font from my typewriter
flux from my thoughts
On a very windy midnight of December the 20th a white wooden door (№1) was put by the artist anonymously on the rooftop of Tallinn town hall by the sea. Door was installed in a narrow white wooden frame where it could pivot in both direction — seawards as well as townwards. Frame was tied to metal drain flanges in four corners of the roof, installation adventure reminded putting up the sails in storm: "rigging" included four long steel cables with tensioners, thick elastic to limit the door travel, frame with two offset pivots, door and a small wooden plinth to protect the roof beneath the door frame. Linnahall is one of the very few places in the central Tallinn wherethrough town can talk to the sea and backwards. On one hand it is a highly fragmented speech torn into myriads of private encounters, on the other — a super-computer synthesized weather forecast. The utmost in analogue and in digital. With its corcert hall, iceskating and other internals disused and locked since the fall of USSR, Linnahall now exists in a semi-ruined state (warmed in winter just enough so as not to collapse) as a crawling giant's back whose stair-vertebras carry people in their beautifull and useless journeys back and forth to see the sea.
The door stood there for approximately two months seeing storms, snowfalls, human attention, human aggression, selie's backs, dusks, dawns etc. Artist-code search script has aggregated more than thirty images of Linnahall with the door made during those two months and published in various social networks. Some images can be seen here including the background (taken from Flickr) and in the scroll-box.
further:
the cinematic mode of production by Jonathan Beller
Is a Museum a Factory? by Hito Steyerl
→
Eliminating Labour by Benedict Seymour
collage by the artist from Charlie Chaplin's "Modern Times"production must not be interrupted by consumption?
An anual festival of american cinema Freedom Fries took place in Tallinn from 27th of February till 5th of March showing seven films from seventies, eighties and nineties as well as "central" film of the festival — 2001: A SPACE ODYSSEY by Stanley Kubrick from 1968. The festival had a preface show in white‐cube as well as postcriptum in black‐box — PREffff and POSTffff. A work titled "assembly line" was installed in 2.5h long PREffff group exhibition on 27.02 in a grey‐floored white cube located in a sewing factory most of which has become a communal space for artists' studios. This film‐long exhibition featuring four contemporary estonian artists: Ats Parve, Kirill Tulin, Eilve Manglus and Sven Parker was curated by Mihkel Ilus
assembly line:in a gallery wall7 narrow vertical slit6 is cut and a little room (equilateral triangle in plan4=3) built behind. Its two measures are taken from those of a white wooden door3 (№2) that constitutes one of its walls opposite to the slit. A typical entrance door spy-glass2 is put in this door, but the opportunity to look from the (bathed in warm light5) interior of the room through the peeping hole onto the outside world is hindered by too narrow a slit making room itself inaccessible.
Behind the door, in the outside a high‐brightness projector1 and a pair of loudspeakers are placed. Projector's wide‐angle lense is faced by peeping hole's one — eye contact is established. No mediating screen in‐between, but a direct clash of two opposite operations: one of projector's attempt to widen‐out and the other of spy‐glass — to narrow‐in. As a result a narrow focused light‐beam is cast accross the gallery space onto the opposite wall connecting the two outsides of the triangular room.
MGM's roaring lion intro becomes an almost abstract puddle of light8 barely visible on a brightly‐lit gallery wall. But Leo's presence is audible as a repetition of a repetitive roar inundating the white‐cube. Visitors nervously look around for a "pet" that makes chitchat and wine drinking somewhat uneasy at this opening. From time to time artist (Kirill Tulin) turns off gallery light and the spot on the wall becomes instantly visible, sound connects with the image and one easily persuades himself that he sees a lion's head in the pattern of golden light.
Meanwhile in the lion‐lit darkness another artist — Sven Parker — moves his slowly undraping work to a new place, then light turn back on into a slightly altered situation.
gallery light: OFF / ON
gallery light: OFF / ON
description of the site:
there is this light
there is this supporting structure
in this light photographs hang
on this supporting structure
visitors wonder in this light
within this supporting structure
this_here_now this_photo_fair
photographs are supplied with paratexts:
this author, this title, this #, this €, this etc.
paratexts are supplied with photographs:
this landscape, this portrait, this naturmort, this etc.
para_graphs
within this supporting structure in this light
visitor forces paragraphs into imagined relations
< > = ? ≥ ≤ ≪ ≫ ≈ ¬ ⊆ ⊂ ⊇ ⊃ etc.
guide tours visitors from one paragraph to another
tour orders relations and solidifies paragraphs
cementing voice
description of the parasite:
parasite attaches itself to this site
somewhere very near to the entrance/exit of this site
it tints this light – it is warmer here
it deforms this supporting structure – it is deeper here
it mimics the mechanisms of this site for its benefit
it intrudes into the yet deeper and warmer
it whispers to the imagination of the visitor
to force its own relation of the site upon imagination
to construct another image through those of this site
to be imagined
dementing voice
Fotokunstimess 2015sssssssssssssssssssssssssssssSIDE VIEW
ceiling _____________________3_______________________5___
ssssssssssssssssss// directional speakerssssssssssss 0
sssssssssssssssss// & warm light bulbssssssssssssss sss
ssssssssssssssss sssssssss sssss sssssssssssssssss sssss
sssssssssssssss sssssssss sssssss sssssssssssssss
sssssswall |ss sssssssss sssssssss sssssssssssss
ssssssssss |s sssssssss sssssssssss sssssssssss
sssssround (1sssssssss 0---> “image” assembly line & --->
sssshallow |s @ssssss @ssssssssound travel direction
sdeepening |ss sssss sssssssssssssssss sssss
sssssssssss|sss sss sssssssssssssssssss sss
sssssssssss|ssss s sssssssssssssssssssss s
floor _____|_____2_______________________4_______________
s 0- sound path
sn0- sound reflection zone
s@0- head of the viewer/listener
sM0- photographs by Maxim Mjödov (UVKE)
FRONT VIEWooooooooooooUVKE gallery wall
ceiling _______________________________
sssssssssssss| | directional speaker
sssssssssssss| | & warm light bulb
ssssssssssssss
sssssss_______ ___________ss___________
swall |sssssss sssssssssss||
sssss |sssssss ss_______ss||
ssssss|ss___s(1)|sssssss| ||
sssss |s| M |s@s|sssMsss| ||
sssss |s|___|s s|_______| ||
sssss |sssssss sssssssssss||
sssss |sssssss sssssssssss||
floor |_______2___________||___________
emulation as a
preservation
strategy →
preservation
strategy →
with works by Maxim Mjödov and Kirill Tulin, curated by Sandra Kosorotova / UVKE
Posted by Tobei Magined on Sunday, October 4, 2015
“…and suddenly we are afraid to change anything…”
Sculpture Quadrennial Riga 2016, Cloakroom of Wagner Hall
4m44s looped, 10.09–28.10.2016
Sculpture Quadrennial Riga 2016, Cloakroom of Wagner Hall
4m44s looped, 10.09–28.10.2016
Reversed song “Changes!”/“Peremen!” by Viktor Tsoy and "Kino" playing looped from the sleeve of black bomber hanging in the empty cloakroom of Wagner Concert Hall, Riga,
2016(1986)
Situation of Artistic Discussion / Tallinn
"Freshly" demolished Estonian Academy of Arts, Tallinn
3-22 October 2012
"Freshly" demolished Estonian Academy of Arts, Tallinn
3-22 October 2012
the paths you took: