Two-person exhibition realized in cooperation with Erik Blinderman.
Video (Michael) and photography and sound installation (Erik).
Kuenstlerhaus, Vienna, AT, 2010.
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Video, 18’17”. Presented in “Matter and Memory,” special project of the 2nd Moscow Biennale, Moscow, Russia (2007), and in “This is Not a Photo Show,” Bluestar Contemporary Art Center/Unit B, San Antonio, Texas, USA (2010).
Photography and installation.
“Welcome to the Neighborhood” Askeaton Contemporary Arts, Askeaton, Ireland, August, 2006.
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This piece was initiated as a call to all citizens of a small Irish town (by local media and word of mouth) to participate in a group photograph to be used for a new sign installed at either entrance to the town.
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↑: Image as it appeared on the sign.
↓: Documentation displayed on the wall of the Tourist Information Point in Askeaton.
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Photography of sculptural additions to existing commercial sign areas and other sites in Kitami, Hokkaido, Japan, 2005–2012.
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Untitled (Appeal)
(2005)
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Cherry Blossom Camouflage
(2005)
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Nest
(2005)
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Scarecrow
(2005)
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One Plus One
(2005)
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Magnet Sign
(approximately 1000 fridge magnets stuck to steel hoarding, 2012)
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Available
(2012)
Messenger
(Black and white photo series, 2005)
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In collaboration with Erik Blinderman.
Performance, installation and photography.
Oppenheimer Space, Frankfurt am Main, Germany, 2008.
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View of Doppelgäng installed on the back of Oppenheimer Space.
This piece consisted of an installation, a performance and resulting photograph made in collaboration with Erik Blinderman. A small gallery space was doubled in black vinyl at its rear, accessed by installing Erik’s piece Speakeasy modified with a peep-hole fitted with a lens. This effectively turned the black double into a ‘camera obscura’ in which life size photographs (1m x 2m) of the original gallery space were exposed and immediately developed. The performance included an announcement, the photo shoot, and the development, which lasted 2 hours.
Post-performance view of Doppelgäng showing the resulting photographs.
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Inverted images of the resulting photographs.
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Views of the original photograph (left) and its double (right) rephotographed by setting up the Dopplegäng as a “studio camera.”