orbital pavilion
orbital pavilion
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Tunga
From La Voie Humide
Mendes Wood, Sao Paulo, 2014
Tunga
From La Voie Humide
Mendes Wood, Sao Paulo, 2014
Tunga
From La Voie Humide
Mendes Wood, Sao Paulo, 2014
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geert goiris
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geert goiris
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lthey:

Marcel Broodthaers
(Source: vanabbemuseum)
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mike kelley
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douglas gordon
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"Thirty years ago, in a windowless basement studio in Düsseldorf, Marcel Broodthaers fitted out the Section Cinema of his famous imaginary museum. Tacita Dean rediscovers this space in her recent film, also entitled Section Cinema, 2002. The room is now a depot for the local museum but still bears the traces of Broodthaers’s inscriptions on the walls. Presented on a loop, the film allows the viewer to endlessly observe the recesses of this familiar but improbable place, which is now full of model boats and antique chairs. The numbers, words and objects both define the identity of the space, and act as a paradigm for the exhibition as a whole, which includes two additional films, blackboard drawings, found postcards and a framed newspaper project. Dean’s exhibition explores Broodthaers’s use of found images and of film itself, probing his use of language and his attempt to see objects as images and to name them accordingly."
"Thirty years ago, in a windowless basement studio in Düsseldorf, Marcel Broodthaers fitted out the Section Cinema of his famous imaginary museum. Tacita Dean rediscovers this space in her recent film, also entitled Section Cinema, 2002. The room is now a depot for the local museum but still bears the traces of Broodthaers’s inscriptions on the walls. Presented on a loop, the film allows the viewer to endlessly observe the recesses of this familiar but improbable place, which is now full of model boats and antique chairs. The numbers, words and objects both define the identity of the space, and act as a paradigm for the exhibition as a whole, which includes two additional films, blackboard drawings, found postcards and a framed newspaper project. Dean’s exhibition explores Broodthaers’s use of found images and of film itself, probing his use of language and his attempt to see objects as images and to name them accordingly."
"Thirty years ago, in a windowless basement studio in Düsseldorf, Marcel Broodthaers fitted out the Section Cinema of his famous imaginary museum. Tacita Dean rediscovers this space in her recent film, also entitled Section Cinema, 2002. The room is now a depot for the local museum but still bears the traces of Broodthaers’s inscriptions on the walls. Presented on a loop, the film allows the viewer to endlessly observe the recesses of this familiar but improbable place, which is now full of model boats and antique chairs. The numbers, words and objects both define the identity of the space, and act as a paradigm for the exhibition as a whole, which includes two additional films, blackboard drawings, found postcards and a framed newspaper project. Dean’s exhibition explores Broodthaers’s use of found images and of film itself, probing his use of language and his attempt to see objects as images and to name them accordingly."
"Thirty years ago, in a windowless basement studio in Düsseldorf, Marcel Broodthaers fitted out the Section Cinema of his famous imaginary museum. Tacita Dean rediscovers this space in her recent film, also entitled Section Cinema, 2002. The room is now a depot for the local museum but still bears the traces of Broodthaers’s inscriptions on the walls. Presented on a loop, the film allows the viewer to endlessly observe the recesses of this familiar but improbable place, which is now full of model boats and antique chairs. The numbers, words and objects both define the identity of the space, and act as a paradigm for the exhibition as a whole, which includes two additional films, blackboard drawings, found postcards and a framed newspaper project. Dean’s exhibition explores Broodthaers’s use of found images and of film itself, probing his use of language and his attempt to see objects as images and to name them accordingly."
"Thirty years ago, in a windowless basement studio in Düsseldorf, Marcel Broodthaers fitted out the Section Cinema of his famous imaginary museum. Tacita Dean rediscovers this space in her recent film, also entitled Section Cinema, 2002. The room is now a depot for the local museum but still bears the traces of Broodthaers’s inscriptions on the walls. Presented on a loop, the film allows the viewer to endlessly observe the recesses of this familiar but improbable place, which is now full of model boats and antique chairs. The numbers, words and objects both define the identity of the space, and act as a paradigm for the exhibition as a whole, which includes two additional films, blackboard drawings, found postcards and a framed newspaper project. Dean’s exhibition explores Broodthaers’s use of found images and of film itself, probing his use of language and his attempt to see objects as images and to name them accordingly."
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mitchdahbitch:

(18+)
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mpdrolet:

From Garden
Ross Mantle
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beconinriot:

Mathieu Bernard-Reymond ”n°5” from the Phnom Penh Series
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aphexual:

twin peaks