Jonathan Schipper, Slow Motion Car Crash (2012), Duration: 1 month
This slow motion car crash sculpture is actually moving at a speed of 7mm per hour in a choreographed collision. With a dramatic inevitability that reflects our own mortality, over the course of the month, the car is eventually destroyed.
The forest is often the mysterious location of secret stories, of distant sounds from hidden camp fires, of secret meetings and unexplained sounds. In The Clockwork Forest, we have created the first chapter of an untold fairy tale. Just turn the key and the mechanical soundtrack will accompany your journey in to the forest. Commissioned by the National Forestry Commission, this installation opened on the 7th October, 2011 in Grizedale, England.
Guia Rigvava This World is Leaving, 1995 video installation
The threshold between appearance and reality is Guia Rigvava’s overriding preoccupation. His early works from the early nineties while in Tbilisi, the capital of Georgia, aimed at the destruction of our instinctive reliance on our visual perception of the world. Thus, the seemingly precise photographic copies joined to the surfaces of objects nevertheless contained some imperceptible distortions of reality. Later, after moving to Moscow, the artist adopted the style of multimedia performances, using television and broadcasting technology (“You are helpless, or, all in all, it does not seem so bad”, 1993). In this project the artist exposed the mechanism by which media creates fiction.
secondhandhuman: I remember seeing this work (Venus of Rags) in person at the Tate Modern when I was studying in London in 2010, but it really didn’t strike me at the time. Pushed up against a bare, white wall and paired with other contemporary Arte Povera works, it just looked dated, old-fashioned.
When we looked at this installation image in my 20th century European art class, however, it struck me differently. Recontextualized in a grand space infused with historical and cultural memory, it takes on an entirely different meaning than when it’s shown in the conventional white cube (see Tate installation here). At the Tate, it felt like an image of itself, simply an ironic, unspeaking example of an outmoded art movement. Here, it’s powerfully affective.