Machines have memories; like stairs worn hollow by footsteps – they retain each usage. An attempt at printing grey on an old laser printer by using a 30% filter of cyan, magenta and yellow. The past printed pages are subtly recorded in the future print – a slowly breaking mechanism. Traces of the past multiply. Through multiplication new traces are acquired. False realignments heightening differences in minute moiré patterns. The process of production – visible in individual steps – going on forever – until it stops.
‘Televisioning’ was an act executed by the inhabitants of a housing block and in collaboration with the Neue Nationalgalerie Berlin. Each flat was given a DVD with a video consisting purely of hues shifting through the colour spectrum in alternating rhythms. After sundown, the residents were encouraged to switch off the lights in their rooms and play the film simultaneously on their TVs, with the anticipation that their windows will glow, at times as a unified block of shifting colour, then a dissonant and desynchronised flashing. This was a work which reflected the community.
A stack of 10,000 sheets of paper; on each page the following text is written:
“A tone hidden in a room plays just above your hearing range. It’s there – but it’s beyond you. Children can hear it – and you used to be able to hear it. The time it has taken you to live your life up to this point has rendered you desensitised to this piece – what you are not hearing is the length of your life.
I’ve hidden the speaker in this room, and I won’t tell you where it is. You’re going to have to trust me that what you are not hearing is actually there. The sound is only present in a few meter wide shaft of noise – localised around the speaker. It’s spatially specific and not a blanket that covers the room. You might have thought that you heard the piece – but maybe that was another tone from something else and the actual work is elsewhere.”
A documentation of four journeys from S-Bahn Zoologischer Garten to the wall on which the photos were later hung. The image describes the route as a multiple exposure photograph, one shot every two steps.
On each photo the route of the journey is the same; only the light changes between each walk. Clouds part, rain falls, lights turn on, night approaches – altering the moments and the segments which become more present within the image.
A monotonous path which can be forgotten whilst it’s being walked; the image acts as a memory – the light of the surroundings burning into the negative – like an afterimage on a retina. This is a representation of the space without time; the image collapses into itself creating abstract forms and general extrapolated colours of the areas depicted.
A video of a stage area in an amphitheatre like setting, recorded from above looking down. The video gets projected into the same space with a 24 hour delay and a 1:1 scale. Constantly recording and projecting.
Taking place during a week of seminars, talks and happenings; the projection only becomes visible when the audience sit in the seating area and gather around the wide doorway. Their bodies block the daylight from entering the room; darkening the space – increasing the definition of the projection and in turn allowing the constantly recording video camera to pick up actions within the projection. Loops of 24 hours compile themselves on top of one another; mixing and shifting with the daily rhythms of the conference. A constant reminder and consolidation of all that has gone before.
A performative talk about simultaneity, distance and an exuding present.
Every word that was spoken was sent to a large satellite dish outside the exhibition space. The audio information was projected up and out into space as radio waves.
The distance that the very beginning of the talk had travelled and the objects in space which it had reached punctuated the talk and were communicated to the audience via a large projection surface on the ceiling above the stage area.
A static and stationary journey of millions of miles via a satellite dish. A collective moment in time that will remain ever present.
Collecting receipts that had been accumulated over each month of buying food and drink. Shredded, soaked in water and sieved to create a new object. A document containing all we ever ate in that month.
I wasn’t present for the carrying out of this piece – that was the point.
During an exhibition in Ethiopia I was at home in Berlin – thinking about Addis Abeba where I had been a week earlier.
In the time that I spent in Ethiopia I collected tiny pebbles; one for every exhibitor. With every stone there was an accompanying handwritten letter describing where the pebble was found and that it had been selected just for them. I requested that they place the stone into their shoe each time they went to the exhibition. I requested that they allow the irritation of the pebble to remind them to remember me. I placed myself into their consciousness.
Some of the pebbles were returned back to me as I had requested. Most people kept their letter.
In the folds of books. Reproduced shadows. Heightening the ephemeral quality of a book as a physical entity. A movable and borderless publication. Free of obvious geographical and temporal marks, yet created out of the temporal and geographical relationship between a source of light, an object and the moment in which a photo is taken. A merging of real shadows with represented ones. Past mixes with present, as northern hemisphere mixes with southern hemisphere.
What time is it on the Autonomous Clock? Where does the time go?
Gaining 15 minutes to its conventional time-keeping everyday throughout the course of the day. Travelling eastward – an hour every four days.
Perhaps you’ll synchronize – perhaps you’ll overlap.
Please embed and spread it. Let’s all view this simultaneously.
A space appears to be empty. As time progresses ghostly presences of bodies appear walking within the room. These build up. As each body enters the space fills and in the moments and places in which the bodies overlap the picture becomes darker and increasingly solid and present. Towards the end of the piece the bodies slowly leave the space one by one until the room is empty. The room remains empty for one minute before looping back to the beginning.
A wooden beam.
A cast is made of the beam.
The wooden beam is shredded into sawdust, and in the process, the wood loses its density.
The sawdust is fixed back into its previous form via the cast.
The cast is filled until there is no more sawdust left.
A close up video of an old cathode ray tube television as it plays a film which slowly runs through the colour spectrum by charging up the red, green and blue pixels in the shadow mask of the television individually. The slow shifts in pattern and colour are created by the interplay between the camera and the screen and the shifts in luminosity between the minutely separted pixels.