I made my conclusive theoretical term paper about the performance/-musicgroup HGich.T (who you might know from their hits ‘Hauptschuhle' or 'Tutenchamun’) and was allowed to make a video, which is uploaded here [yt, 18min, german]. Achja: Note 1,3 und “die erste Theoretische Hausarbeit auf Youtube.” Hallelujah.
Applied for a Performance-festival yesterday and this is a scene of the beginning, which is uploaded here [yt, 5:30min, german], but I don’t really know if I continue working on the piece, if they don’t take it.
Btw, I have the feeling it’s a little narcissistic/stupid to make a gif of your own video, but I actually hardly click on youtube-vids on tumblr anymore, so I thought I make something different. And I really like that scene with the Elvis-record, which is said to be one of the most covered …ha covers ever.
After a long delay finally another blog-entry: Painted and sticked my old guitar (mostly with Sonic Youth CD-coverartwork), which you hopefully soon see in ‘action’, as this is what i’m doing right now: Music. Recorded some demos, but they’re to vague to post them here, as well as some writing and videos for a performance. Not much information for now, but although this is some more long-termed stuff I guess it’s somewhat better or cooler to just present the final result, than to talk about every little shit one does. So in case I don’t see ya: Good afternoon, good evening, and good night!
For The URL Project, digital artist Rafaël Rozendaal asked YouTube users to help him conceive his latest URL creation. He received over 500 submissions for a potential domain name. Watch Rafaël meet the lucky collaborator, YouTube user bestfriendbed, and reveal the beautiful result of their efforts.
Their collaboration is up at http://nothingeverhappens.com. It’s a hypnotic, enigmatic moving image which dares the viewer to continue in anticipation. Rafael himself said it was like “looking into a cave,” only slightly perceiving what you are seeing.
As mentioned above there was a submission a few weeks ago to suggest a title for a new work by Rafaël Rozendaal. He actually took one of mine, which in turn I got the idea subconsciously from a Even as we Speak song, as well of one from the Swedish band The Faintest Ideas / Javelins. So I didn’t really think of them, when made the suggestion, but as I’ve listened to the songs pretty often, I guess they sort of contributed most here. An if you ever wondered how I look like: My shitface emerges in the video, too.
something stupid (in german, but i explain in english): andreas elsholz’ summertime recited as a poem. elsholz was a soap-opera star in the mid-90s in germany and has disappeared more or less from the screens since the 2000s. he and his hit-single emerged again, when german let’s player gronkhmentioned him in several of his minecraft-episodes and even revealed that elsholz was invited to a let’s play together-live-event in august (4000 people) and even agreed, but couldn’t make it, due to idontknow. so long, so uninteresting. what amazes me is the turn or contrast within a few years of somebody being a known television-personality, recording a song and making it to the charts to a known internet-personality, naming a pixel-beach in a computergame after the other person, talking about him every while and therefore gets into the position to invite the other guy, more or less, because he records himself playing games (and having a charted single now, too.) closing sentence about living in a strange world, although it’s not strange at all.
The movie-in-a-movie-thingy is very inspired/stolen by Brad Troemel’s ‘The Millennial Biennial’, a video where I was like paralysed and just couldn’t look away.
I made a painting called ‘My Top 50 photos of screaming singers’ where I attached a digital photoframe to a canvas which plays my current Top 50 photos of screaming singers. Whenever I find a new photo that makes it to the list the artwork therefore changes as well. Also, size and material of the medium (here: canvas, paint & monitor) only matter in dependence of the displays architecture or in other words: If it fits, it fits. Altough here it’s sort of a statement towards painting, too.
Guess, this shows best, what I meant here with ‘progressing, context-bound, personalized art, that always leaves a space for intimacy and self-reflection for the viewer’ (e.g. here: that you have a knowledge/relation to some of the singers/bands and their songs or simply say: “I like that photo, too”), whereby I’d like to add, that it’s always based on an original (mostly art, here: photos of singers) which I try to ‘convert’ into something with an own value.
here’s a supercut of 50 videos of people being sorry, that they haven’t made a video in a while.
Using writing and words in my art has never been something I decided: There was simply no way to avoid it. I do believe in “the power of words" and yes, I still do believe that art can change something, though I don’t wanna impose or force people. But I think that ‘real’ politics start between 2 persons, if not 1: yourself. And these politics of the first person I want to approach.
It’s amazing how the arrangement of letters, which again are also only an arrangement of lines, rule the world. And all the little worlds of our own within it. Saying “I love you” has the power to change your whole life and that of another person. But then again those 8 letters, maybe simply said in the wrong moment or wrong place, also can destroy everything. Even one letter, one different line, can change the whole meaning of a sentence and therefore achieve a completely diverse reaction, like in the example above.
I remember as a teenager, at one afternoon I was zapping through the programs and just stopped accidentally by an interview, where one guy said, that 2 sentences had such an huge impact for him, that he changed his whole life after he had heard them. Then he said something like, it also could have been just single words, that could have caused this. At that very moment, hearing this didn’t do anything to me, I just zapped to another program and somewhen turned off the Tv. I don’t even know, when I remembered this moment and neither do I know, who that guy was, but those few words he said, came into my mind again and again and more often in the last couple years. Sort of in a revision of events his words probably had such an huge impact on me, that, if I hadn’t have heard them, I likely wouldn’t do art, that is so strongly based on writing and words.
The pic above ist Timm Ulrichs “This book I have read - this book I haven’t read.” from 1970 and the one under this is my response to it. Ulrich used 2 books of Ludwig Wittgensteins “Tractatus logico-philosophicus” from 1922 in which Wittgenstein claims that statements themselves can depict parts of the world [link, german], which I would understand as sth. like: ‘Ideas can be pictures, too’ - which I also fully agree to, but don’t think that is a risky theory in the late stage of post-modernism (or are we already in a new stage of a new ‘era’?).
So I chose Dirk von Gehlens “Mashup - Praise of the Copy” as the 2 books, in which he, as the title suggests, praises copying art, literature, things in general and has gotten some critique for that, as he releases and sells the book through a pretty prestigious publisher, who would sue the shit out of one, if somebody copied the book and sold it. Btw, that both books were published by ‘Suhrkamp’, even in the same series, size and color, was a perfect coincidence, because I was sure to copy Timm Ulrichs work with Dirk von Gehlens book, when I saw him talking about it in an interview [german], but didn’t know they’d share those similarities and when I found out, I thought: “Okay, now I got to do this.”
With all this appropriating I thought, whether it may be more to the point to simply name the artists I like, instead of copying them. I keep updating a txt-file for this and every time the artwork would be exhibited it would be updated as well. It could be shown as a piece of paper, projection, website or anything else, that fits to the content or architecture of that exposition. This here is on Kapa-board and 60x40cm/24x16in big, but as well as the dimensions, the medium is variable and only the content (here: 50 artists i like & dislike) of the piece stays the same. What i want to do is progressing, context-bound, personalized art, that always leaves a space for intimacy and self-reflection for the viewer, e.g. here: That you may ask yourself, what artists you actually like or think: “What?! Why you dislike Gerhard Richter??! I think his works are greeeaaat!”