Cildo Meireles, Insertions into Ideological Circuits (Coca Cola Project), 1970
The Coca-Cola Project… explore[s] the notion of circulation and exchange of goods, wealth and information as manifestations of the dominant ideology. For the Coca-Cola Project Meireles removed Coca-Cola bottles from normal circulation and modified them by adding critical political statements, or instructions for turning the bottle into a Molotov cocktail, before returning them to the circuit of exchange. On the bottles, such messages as ‘Yankees Go Home’ are followed by the work’s title and the artist’s statement of purpose: ‘To register informations and critical opinions on bottles and return them to circulation’.

Cildo Meireles, Insertions into Ideological Circuits (Coca Cola Project), 1970

The Coca-Cola Project… explore[s] the notion of circulation and exchange of goods, wealth and information as manifestations of the dominant ideology. For the Coca-Cola Project Meireles removed Coca-Cola bottles from normal circulation and modified them by adding critical political statements, or instructions for turning the bottle into a Molotov cocktail, before returning them to the circuit of exchange. On the bottles, such messages as ‘Yankees Go Home’ are followed by the work’s title and the artist’s statement of purpose: ‘To register informations and critical opinions on bottles and return them to circulation’.

two stage transfer drawing, 1971, dennis oppenheim

two stage transfer drawing, 1971, dennis oppenheim

(via floresenelatico)

L’Origine du monde
I like the way the mind works. Whoever took this picture saw a set of winding stairs and thought “From a certain angle, this is reminiscent of that painting by Courbet.”  
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More

L’Origine du monde

I like the way the mind works. Whoever took this picture saw a set of winding stairs and thought “From a certain angle, this is reminiscent of that painting by Courbet.”  

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More

Sasha Kurmaz, Nude Girl Drinking Milk Sasha Kurmaz

Sasha Kurmaz, Nude Girl Drinking Milk Sasha Kurmaz

(via 3000km)

Cerith Wyn Evans, Untitled (Gold-plated barrier), 1998 Plated steel 122 x 259 cm (48.03 x 101.97 in). Yvon lambert Gallery.
Ha. As though the barrier itself is what makes what is going on behind it special.
Point of reference:
Versailles
Buckingham
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Related, Kristof Kintera, Paradise Now
(and more Kintera at justement)

Cerith Wyn Evans, Untitled (Gold-plated barrier), 1998 Plated steel 122 x 259 cm (48.03 x 101.97 in). Yvon lambert Gallery.

Ha. As though the barrier itself is what makes what is going on behind it special.

Point of reference:

Versailles

Buckingham

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Related, Kristof Kintera, Paradise Now

(and more Kintera at justement)

(via floresenelatico)

Jurgen Olbrich, Autopoems

Jurgen Olbrich, Autopoems

(via ratak-monodosico)

Micah Lexier
Translation: Self portrait in the form of a wall proportionally laid out between the black of the letters, representing life lived thus far and the remaining white space, which represents life left to live, based upon statistical data for life expectancy.

Micah Lexier

Translation: Self portrait in the form of a wall proportionally laid out between the black of the letters, representing life lived thus far and the remaining white space, which represents life left to live, based upon statistical data for life expectancy.

Micah Lexier

Micah Lexier

(via five-weeks)

Grupa TOK performance, Serbia ‘73 

Public performance art, using protest signs with minimal patterns.

More photos here

(via ahrtsnob)






Helmut Smits, Real Life Photoshopping
#1 Spray paint on leaves
#2 Pavement swept with broom
#3 Materials: plank, spade bit, plug cutter, wood plugs cut from the original plank
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More Helmut Smits at justement

Helmut Smits, Real Life Photoshopping

#1 Spray paint on leaves

#2 Pavement swept with broom

#3 Materials: plank, spade bit, plug cutter, wood plugs cut from the original plank

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More Helmut Smits at justement


Mishka Henner, Astronomical, twelve 506 paged volumes of black pages with planets and the sun on 11 of the pages. The Solar System is mostly pretty empty.
Top: Jupiter on page 283 of volume 2
Bottom: The Earth on page 155 of volume 1
Each page = 1,000,000 km. A picture of each planet in the Solar System is on a page equivalent to its distance from the Sun, with black pages in between. The Sun is on pages 2 & 3 of volume 1, Pluto is on page 503 of volume 12 (Earth: page 155 of volume 1. Jupiter: page 283 of volume 2. Uranus: page 383 of volume 6. Neptune: page 53 of volume 10). I did not know that Uranus and Neptune were so MUCH farther away than Jupiter and Saturn. According to this, it’s 6,069,000,000 km from the Sun to Pluto, which was maybe Pluto’s distance from the sun when he first made the books.
The index sheet, giving the relative distances of the planets from the sun
The related video

Mishka HennerAstronomical, twelve 506 paged volumes of black pages with planets and the sun on 11 of the pages. The Solar System is mostly pretty empty.

Top: Jupiter on page 283 of volume 2

Bottom: The Earth on page 155 of volume 1

Each page = 1,000,000 km. A picture of each planet in the Solar System is on a page equivalent to its distance from the Sun, with black pages in between. The Sun is on pages 2 & 3 of volume 1, Pluto is on page 503 of volume 12 (Earth: page 155 of volume 1. Jupiter: page 283 of volume 2. Uranus: page 383 of volume 6. Neptune: page 53 of volume 10). I did not know that Uranus and Neptune were so MUCH farther away than Jupiter and Saturn. According to this, it’s 6,069,000,000 km from the Sun to Pluto, which was maybe Pluto’s distance from the sun when he first made the books.

The index sheet, giving the relative distances of the planets from the sun

The related video

Shizuka Yokomizo, Dear Stranger

For this 1998-2000 series of portraits, photographer Shizuka Yokomizo left several anonymous letters on the doorsteps of random ground floor apartments that read:

Dear Stranger,

I am an artist working on a photographic project which involves people I do not know…. I would like to take a photograph of you standing in your front room from the street in the evening.”

The letter specified a certain ten-minute period during which the artist would approach, take the picture, and slip back into the darkness. She would only reveal her identity once her subjects received a print and contact information (so that they could let her know if they objected to their portrait being exhibited).

Yokomizo made sure that when the photos were taken, the light would be too dark outside to see her — it would only allow her subjects to see their own reflections on their side of the window.

(via velvetant-deactivated20140416)