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2002.10.17 18:17
reenacting Primarily Not Duchamp
Primarily Not Duchamp, an exhibit at Venue (a quondam art gallery in Philadelphia) November 1993, is presently reenacted at wireframe/VENUE at xxx.htm.
Follow the links at the bottom of each page's entry and you will then eventually have seen all the works currently available for viewing. When you reach the list of works page (xxx.htm) note that the blank titles are actually hyperlinks that appear when the cursor hovers over them.
The title of the exhibit derives from the cracks of The Large Glass being "primarily not Duchamp." There are other clues within certain works as to how the exhibits fits together, and these will be explained when each work is more fully explained (maybe within the next couple of weeks).
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2003.10.17 11:32
Drugs R Us
The present project is the construction of a 3D computer model of the censored part of Étant donnés, i.e., the room accessible by the back door via "2 KEY". This virtual construction is within the larger context of the 3D computer model of Center City Philadelphia in Quondam's collection.
It is written that only one person at a time can look at Étant donnés. This assertion was tested 25 July 2001 by myself and my then assistant. I looked through the left peephole with my right eye and the assistant looked through the the right peephole with her left eye, and we saw Étant donnés simultaneously.
Is any of Rhoades' show in braille?
"What did the blind man say when he pet the pussy?"
Remember, always pant when you say panty.
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041017b.db correct/master Philadelphia plan including Franklin's Footpath
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2007.10.17 15:18
historical reenactment picture of the day
This is what I saw last night:
Daniella Mericle's two-channel video from her 2006 project History Sighs presents fixed-frame landscape views from original, antipodal landing sites of colonial conquest. The sun sets over the Arabian Sea, (filmed from Gujarat, where the British first made contact with Indian soil) as it rises over the Atlantic Ocean from Salt River Bay, St. Croix (a Columbus landing site and setting of the first-known violent confrontation between Europeans and American natives). Mericle's exploration of these two locations prompts speculation about history's ability to manifest its theoretical and material legacy within the physical landscape.
I told the artist her work had an interesting reenactionary quality (to which she agreed completely), and how some degrees of separation collapsed by now standing next to her while the sun was rising and setting again.
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