In collaboration with Ragunath V.
Correspondence, photography and architectural model.
Frankfurt am Main, DE, 2006.
An art museum was proposed for a miniature train set in the Frankfurt train station to its owners and an architectural proposal was made in collaboration with Ragunath V.
Architectural rendering of the proposed Kunsthalle, whose structure morphs between letters borrowed from the font of the Frankfurt street car’s digital signage.
In collaboration with Ragunath V
Sculpture with sound and programming components
Shown at Explum 08, Murcia, Spain (2008)
A sculpture and media piece made in collaboration with architect Ragunath V, it consisted of a log produced from a parametric computer script and laser cut, and a sound component. Inside the sculpture were two speakers that emitted a “call”: an appropriated simulation dinosaur roar changed periodically and continuously. The speaker cables led to a laptop connected to the Internet; the sound altered parametrically with data collected from a website selling reproductions of artworks.
In collaboration with Ragunath V.
Video, 14’28”
2006
Ragunath V interrogates himself over slides he has taken in a bird sanctuary in India.
In collaboration with Erik Blinderman.
16 mm film installation
“Nought to Sixty,” ICA, London, England (2008)
Two looped 16 mm films (approximately 3 minutes and 5 minutes in length) were produced in collaboration with Erik Blinderman to record differing photographic impressions of a single day. Both filming approaches used mirror attachments to the cameras to affect their relationships to what they documented: one camera peering through a hole polished in a magnifying mirror used the sun to burn holes in the newspapers it inspected closely; the other camera with a ‘spy lens’ mirror allowing the camera to secretly look at 90 degree angles and zoom in varying dimensions in and outside the mirror.
In collaboration with Erik Blinderman.
Performance, installation and photography.
Oppenheimer Space, Frankfurt am Main, Germany, 2008.
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.
Inverted images of the resulting photographs.
Views of the original photograph (left) and its double (right) rephotographed by setting up the Dopplegäng as a “studio camera.”
(2008, first published in Realism newspaper as part of the Free Class Frankfurt’s exhibition Trompe L’oeil Polizei at the Frankfurter Kunstverein, 2008; the below version annotated by Robert Knowles and Jon Knowles and included in the art work My other office is a bistro table by Knowles Eddy Knowles in the exhibition Making it Work at the Leonard and Bina Ellen Gallery, Montréal, 2009)
Paying heed to even wider sections of the contemporary art world one notices there is no stigma attached to collective work, except perhaps by certain collectives or critics who label it as en vogue. Or should one employ the term ‘lament’ to describe the tone of art groups come of age in the last decade or two, noting the passing from ‘independent’ to ‘institutionalized?’ Perhaps as the perennial inheritor of paradise lost, I am projecting. For something must prompt the question: “But why are collectives so attractive to the institutions nowadays?” and I simply refuse to believe the aura of authenticity exhausts the discussion as a concept or as an answer. I think it is important to look at a few of the many ways that groups operate, and the implications of these methodologies.