Death Row (2006), consists of thirteen aluminum doors containing neon light, arranged in such a way that each door creates an optical illusion, giving the effect of multiple corridors through the wall.
Chinese artist Wang Du’s first UK solo exhibition will introduce The Space-Time Tunnel, a large-scale sculptural installation which submerges the visitor into a giddying media flow. Exhibition visitors are invited to journey through a mass of newspapers and magazines combined with more than 66 TV-screens, incessantly broadcasting programmes from global television networks.
The film presumably shows a fast-paced tracking shot through the tunnel in which Lady Diana Spencer, Princess of Wales, died in a car crash. At first the viewer seems to remember seeing these images in the media. But in reality the set is a true to life, cardboard mock-up of architectural details. Under closer inspection, one also realizes that instead of reproducing reality Thomas Demand creates a perfectly-constructed model world. The cleverly-lit cardboard scenery takes up an incident of recent history and, in doing so, mirrors the illusionary features of what appear to be familiar images. The film literally reflects upon the model of our relationship to images from the mass media. In the process, the construction, representation and repetition of reality create a complex weaving of connections. That the accident used as the theme was the result of a hectic, car chase caused by paparazzi lends the work yet another aspect of the reflection of the media.
Video projection in which motorist and passer-by go through a special experience. I mounted a videocamera on the rotating part of a cement mixer truck and drove it back and forth through the Y-tunnel in Amsterdam endlessly. The result is a totally disorienting projection causing the motorist to never be able to drive and look through Y-tunnel again as he used to. This video was projected on a large screen on the Mediamatic building located next to the Y-tunnel.
This intervention consists of a tunnel build through the gallery space that transformed the non-public space of the gallery into a public space. By removing one of the windows at the front and a garage door at the back we allowed twenty-four hour access through the tunnel. The design of the tunnel was strongly related to the space’s architecture- which is why there was a long narrow section, a very narrow corner, and a wide section. There were still areas which were not accessible-one of these was visible through a window at the front of the gallery and another, which was only accessible for the audience, could be accessed through the front door. In the gallery’s office, where the owner usually received visitors, there was no control over the space via the tunnel. In the three weeks that the tunnel was public it was decorated with graffiti-the public used the tunnel to a far greater extent than we had anticipated.
The project Inversion will transform two Art League houses on the corner of Montrose Boulevard and Willard Street. The Art League offered Havel and Ruck the old studio buildings before they are demolished this spring making way for a new Art League building.
Move over Helvetica. Rhizome is pleased to announce the gift of a limited edition CD by Paul Chan, Sade For Fonts Sake, for Community Campaign donors at the $1,000 level. Sade For Fonts Sake is a special edition data CD containing 21 truetype fonts and a collection of digital artworks. Each CD comes with an accompanying signed print by Chan, exclusive to Rhizome. Inspired by the writings and philosophies of Marquis De Sade, Chan’s fonts transform alphanumeric characters into eroticized phrases. Donors at this level also will become members of the Rhizome Council.