In a whirlwind of perceptions and eliminations, Persecution of the White Car develops a singular story about an elusive place and a glance reflected like sunlight on the white lacquer work of the car in the title.
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What is most enchanting is the casual discovery that one doesn’t have to create anything new after all; one simply has to put that which already exists – mirrors, chairs, cultural identities – back into the flow of perception at a given point in time.
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The development of characters, short stories, perceptions of place, collected physical objects, as well as a diary of the process will be way as the building blocks of a soap opera; continuity over time is an important characteristic of the soap format.
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Klein’s issues regarding the threadbare perception and experience of the urban environment, influenced by factors of all sorts, are illuminating for the project ‘Any Resemblance to Existing Persons is Purely Coincidental (Stories of Mr. Wood)’ by photographer Martine Stig and graphic designer Vanessa van Dam.
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Pablo Leûn de la Barra will run a ‘Parangole’ workshop in which he will make Hèlio Oiticica-style Parangoles with the participants – items loosely resembling coats, jackets and capes (though hardly identifiable as clothing) made of plastic and other scraps of material, and devised with the intention of creating new perceptions.
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Above all, if the spectator has taken the time to delve deep into the construct of his or her own memory, the work of Manon de Boer beckons the spectator to create his or her own mental rooms from the material constructed during the perception of the work, and to become concurrently aware of the process that brings such memories to life.
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If much of conceptual art in the 60's and 70's was attempting to get as far away from the object -the object as end result- as possible then Lippard and Chandler were dead right in saying that the (new) reception of art was not merely about immaculate perception and ensuing experience but about seeing and actually thinking about what you see.
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This perception of the crosscurrents within the exhibition's conceptual streams is compellingly monumentalized by a gigantic, floating, colorless, undulating amoeba by Elena Beelaerts (Self-Portrait as an Amoeba, 2004), which unflinchingly and amusingly inverts the conventions of scientific experimentation by injecting live mice into an artificially generated single-cell structure.
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