LET’S IMAGINE ALL FACETS OF HISTORY
AS A GIANT CORPUS, A BODY.
THE MOUTH OF THAT HISTORY BODY IS ART.
IN THAT MOUTH THERE ARE TEETH, AND THE TEETH ARE SCULPTURES—
PLINTHS AND OBELISKS.
FOR HISTORY TO UTTER ANYTHING, AIR HAS TO PASS THROUGH
THE TEETH. AS A CONSEQUENCE, ALL ART DISCIPLINES PASS
IN SERBIAN LANGUAGE SOUNDS
(THE WORD FOR SOUND IS IDENTICAL TO THE WORD FOR VOICE: GLAS)
ARE CLASSIFIED IN RELATIONSHIP TO TEETH:
TEETH SOUNDS: D, T, C, Z, S
FRONT TEETH SOUNDS: F, V, B, P, M
ABOVE TEETH SOUNDS: N, L, R
BEHIND TEETH SOUNDS: DŽ, Č, Ž, Š, Đ, Ć, NJ, LJ, J (east-less font)
BACK TEETH SOUNDS: K, G, H
IN THE LAST CENTURY, SOME MEN AND EVA HESSE, STARTED
ROCKING AND DISLODGING THE TEETH OF SCULPTURE, LOOSING
THEM UP, MASSAGING THE GUMS OF HISTORY.
TEETH ARE AN INDICATOR OF AGE, ORIGIN, AND CLASS.
VOICE COACHES PREFER CROOKED TEETH TO STRAIGHT ONES.
AS A HEARING PERSON FOLLOWS A PERSON COMMUNICATING
THROUGH SIGNING, THE HEARING PERSON’S TEETH MOVE
KISSING AND BLOW JOBS ARE TEETH-RELATED SKILLS.
TEETH BREAK DOWN FOOD, ARE DAMAGED BY ACID WHEN
TEETH ARE ADDED, SUBTRACTED, AND SHAPED.
BOXERS SWALLOW THEM.
YOU KNOW HOW TO RECOGNIZE A VAMPIRE.
Trojka reconstructs the implanted memories for female replicants Zhora, Pris, and Rachel by following three corresponding contemporary subjects: Eastern European migrant worker, Midwestern androgynous youth, and a Los Angeles researcher. The last human memories replicants receive occur between 2013-17 and Trojka operates within those years, a present tense that we and Ridley Scott’s 1982 film Blade Runner film are simultaneously living. A set of original silicone props and film transparencies help the protagonists assume cinematic kinship with Blade Runner women, framing a transitional collective memory implant, transmitting from 2019 Los Angeles, sprawling in all directions.
The Borosana shoe was first developed over a nine-year period (1960-69) at Borovo Rubber Industry Headquarters in Vukovar, Croatia. After being designed and tested by the Borovo female workforce and an orthopedic surgeon, the shoe was institutionalized as mandatory for all Yugoslav women working in the public sector. Borosana was launched in 1969, in white and navy colors, featuring an ergonomic platform, calculated as ideal for nine hours of standing without hurting the wearer’s spine. In the declining years of Yugoslav communism the model was withdrawn from mass production and fabrication was abandoned when Vukovar became a major Yugoslav war zone in 1991. The workers returned in 1999 finding only the office building, the shoe factory, and the company hospital structurally safe. Today those buildings house factory production. The remainder of the industrial complex can only be described as an overgrown post- apocalyptic ruin. Despite the decline of recent wars, the Vukovar plant of the Borovo factory network remains the most diverse and the most ethnically divided. It is the only factory able to model the Borosana shoe base as it was designed in the 1960s.
Nine Hour Delay (2012-ongoing) reinitiates the fabrication of the Borosana work shoe. Each time this project is exhibited Borosana becomes the official work shoe of the host institution advancing the constructivist maxim of great utilitarian design in service of the working woman. The new production run is black and available for checkout for the women working in and around the hosting institution. The project disperses through clouds of poster and video ads and uniforms sporting sayings and slogans Borovo workers adopted from the 1990’s war. Since Borosanas can only be worn while performing work, the shoes become a medium, a prosthetic of labor: once they are on, work commences: when they are off, work ends. With each step, the shoe extends the architecture of labor and provides the wearers with a distinction between labor time and leisure time. Borovo remains the last public Yugoslav infrastructure. The inability to legally split and privatize the company’s public assets prevents Yugoslavia from fully splitting to this day. The ultimate goal of Nine Hour Delay is to keep Borosana in production as long as possible, suspending the formal dissolution. With every new step Yugoslavia persists (insists).
Annex facilitates strategic placements of art objects through an international network of activist-collectors who temporarily or permanently donate Western masterpieces to institutions lacking national or international protection. The project gives works of art a direct stake in political conflicts by creating architectural safe zones. Due to the delicate nature of this work the ammount of public information is limited. Details on this project, its stages, research, and deployment are available upon request.
After I am finished, I dig out the eyes, cut off the nose, the tongue, I break the fingers, legs, arms, and lastly, I gut. I set the body aside to cool down. Then, I pause a bit. I start thinking about the mortal carcass. What did he think a moment ago, yesterday, last year? Did he want me to forgive him or ease his well-deserved punishment? I imagine him in various stages of life and in ordinary situations. Then I cover him in salt, wrap him in rags, drain the fat and press him, gradually and carefully, to avoid breaking any bones, extracting all blood left in the meat. Next, I wash him repeatedly to remove the salt, and hang him in a dark, well-ventilated room. The surrounding air is paramount for the final quality of the prosciutto. I wait patiently. After he is completely dry, I slice and eat him.
Sonic affect, absorption, and physical aspects of sound inscription motivate video works like Djinn & Tonic (2011). A narrative inspired by Hofstadter’s Little Harmonic Labyrinth, cybernetic black box, and the dizzying atonal structures, was pressed into an 12 inch record, with a labyrinth etched on one side. Titled Infinity, the Answer to all Questions, the recording served as a soundtrack for the video, a high definition photographic tableau, made up from all the objects comprising the narrative. As the story unfolds, the objects are rearranged slightly, the record needle traverses a labyrinth, making the record skip every time the needle goes over the etched labyrinth wall.
This protocol constructs semi-permanent roof facades rendering the buildings hosting them invisible, playing dead, or posing as other architectural entities. High resolution roof camouflage prints are constructed from GeoEye (used by the U.S. Government) and NASA SRTM (used for Google Earth) imaging typologies, blending the structures into their surrounding landscape. Each imaging cycle thus provides an opportunity for further reconstruction and remapping in one of the following three scenarios: the structure disappears by blending into the surrounding environment (chameleon); it takes on a different identity adopted from another architectural structure (mockingbird); or it poses as a destroyed or dead version of itself (possum). Architectural structures of interest to this project are buildings that suffer from identity crisis, in need to disappear and establish a certain mode of representational refusal, to hide, or to protect themselves.
Since 2012 Run Silent Run Deep is developing a periphery of minor scale accessories: digital camera-proof pins and metalized fabric garments that allow smaller monuments, objects and individuals to be covered becoming impervious to night photography and drone surveillance.
The Dark Departments have joined forces in forming the Gesture Guild, a bureau for the recovery and acquisition of voluntary gestures. The Gesture Guild aims to return and reinforce the primordial anxieties responsible for head-bending weight and other liquid spiraling disasters, topical and tropical.
The public, inflicted with recession-based involuntary movement due to the loss of solid surfaces and time-space incongruity, can join various Guild making programs in search of gravitational re-calibration.
DONT FALL OUT OF THE WINDOW LEANING TO SEE OTHERS FALL INTO PIECES (RELATIONAL AESTHETICS IS DATE RAPE)!
The refrain of this song is derived from a Communist youth work song, a parody on Romeo and Juliet, ridiculing the bourgeois notion of love. The strophes are disasters, topical and tropical, devoted to the survival of SS Patria II carrying the International Congress of Modern Architecture in the Summer of 1933 from Marseille to Athens and back. During the last night of the voyage a terrible storm made the vessel lose control. The sea swamped the deck. To avoid capsizing, the ship gave up and let the gale decide its course. If it had sunk, Laszlo Moholy-Nagy, Le Corbusier, Fernand Léger, Kurt Seligmann, Christian Zervos and Van Eesteren would have drowned, among others. This song is ideally to be performed while collectively performing physical labor or in a Eastern-European-grand-hotel-like ballroom. The work formations and the ballroom sailor choir should assume symmetrical choreography opposite the viewer. The performer’s voices, drums and clothes should be symmetrical. If there is an uneven number of performers, remove the extras, or position them in the center. The drum score is included in the score notes, so that the listener can play or sing along. The pdf below contains the score booklet.
In Here Comes The Darkness photographic, sculptural and video works were housed in a collapsible labyrinth structure organized around the Minotaur, a sculpture that responds to electrostatic charge. At the center of the black minimal object, comprised entirely of metal-coated audio tape, resided a Van de Graaf generator, producing an charge that is distributed by visitors moving though the sculpture. In this process, electrostatics animated and distorted the sculpture itself, paralleled by an audio transmission that is generated by the charge. The entire exhibition fits within one standard shipping container (2,390 ft³).
This index is a Swiss Weltformat-size archive of narratives re-telling the deaths of conceptualism's greats as ongoing Serbian narco-mafia assassination and retaliations. The text creates a serial killing spree/gang war aimed at the white men of minimal and conceptual art (Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Alighiero Boetti, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Walter de Maria, Jan Dibbets, Ger van Elk, Rafael Ferrer, Barry Flanagan, Ted Glass, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Stephen Kaltenbach, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Bernd Lohaus, Richard Long, Roelof Louw, Bruce McLean, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Panamarenko, Pino Pascali, Paul Pechter, Michelangelo Pistoletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Frederick Lane Sandback, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Lincoln Viner, Franz Erhard Walther, William G. Wegman, Lawrence Weiner, William T. Wiley, Gilberto Zorio) prior to their arrival to the opening of the first major international survey of conceptual art When Attitudes Become Form curated by Harold Szeeman for Kunsthalle Berne in 1969.
This screening program is designed for theater audiences. Prior to the screening, visitors are given a numbered program. The audience is seated, an attendant announces the intermission, and the program begins. The audience sees a real time mirror image of itself on the projection screen. A line of drummers is seated in the first row. Subtitles (lines) are superimposed via a max patch, numbered, so that the audience members read them out loud as their number appears on the screen. They enact a film designed for theater audiences and a variety theater on stage (a smash product narrative of Marinetti’s Theatre of Surprise and the Black Magic Act in Bulgakov's Master and Margarita) resulting in the chaos of revolution. The audio is collected and layered for a separate work, an echo chamber, where the sonic crowd grows with each consecutive screening. The recording serves as an accumulation site, a repeated rhythmic framework, for bringing revolutionary imagination back to life.
A project for the sludge metal band the Melvins, a double LP cover for an exhibit curated by Bod Nickas. The cover was etched into black aluminum and manipulated by the Melvins during their performance at Blum and Poe, Los Angeles by a pile of amplifiers strong enough to bend the metal (the sound and kicks crumpled the aluminium sheet). The remainder was scanned for the Melvins to create an LP based on the names constructed for the tracks. The names were etched on the drawing’s grid: BRAIN, BLOOD, BLOOMS.
A parallel track record with random track selections, titled On Being Buried Alive, broadcasts a fractured and disoriented narrative timeline. It is used as a sleep program narrative. Since 2007, a physical dormitory for fifteen people has been produced and can be sent to any venue for a sleep event. Upon requets, bankets, pillows and military sleep mats are shipped to the project site and announced through a set of instructional posters. The package also supplies the parallel-track narrative, The Oath overhead slide, and a light owl extension for the record player projecting the night skies. The audience gatheres, occupies the dormitory, the lights are turned off and the program plays to lull them to sleep. This work is ideal for war and natural disaster emergency evacuation sites. The record player can be powered by a hand crank to avoid wasting any emergency generator power.
This score was created for dark caves and working mines. Designed to test the limits of the french horn instrument, this work can be performed only by Giovanni Punto, Dennis Brain and Barry Tuckwell in its entirety. Since it requires two resurrections (Brain and Punto) Diaboliad stipulates a Faustian pact. The editions are printed with ash cartridge and once the score dries, it is smeared each time it is touched, staining the hands of the reader black.
This work, conceived as a ongoing collaboration with University of Chicago Department of Astrophysics, functions as an annual index of all galaxies imploding since the work was first exhibited in 2006. Especially pertinent in a time of recession and disaster, recently the editions were developed into personal one-offs, where annual editions can be ordered corresponding the year of worst personal failure by the person purchasing the work. The edition is sent flat and crumpled into a pile by the collector and hidden away to gather dust and ruin.