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.
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.
↑: Image as it appeared on the sign.
↓: Documentation displayed on the wall of the Tourist Information Point in Askeaton.
Photography of sculptural additions to existing commercial sign areas and other sites in Kitami, Hokkaido, Japan, 2005–2012.
Untitled (Appeal)
(2005)
Cherry Blossom Camouflage
(2005)
Nest
(2005)
Scarecrow
(2005)
One Plus One
(2005)
Magnet Sign
(approximately 1000 fridge magnets stuck to steel hoarding, 2012)
Available
(2012)
Messenger
(Black and white photo series, 2005)
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.”