2011
Graphite on Paper (mounted and framed)
170 X 268 cm
Empty citizenship forms from every UN recognized nation-state, have been hand drawn to scale and outlined continuously from A-Z, resulting in a towering monument/portrait of an uninscribed subject.
2011
Hand Made Paper created from each denomination of the Polish Zloty currency (10, 20, 50, 100)
Each: 35 x 35 cm (framed)
All traces of symbolic value of the currency (Zloty) have been transformed into value-less paper monochromes.
2011
Purple Election Ink on Paper
132 X 132 cm
The same ink that is used in new democracies to prevent election fraud by marking ones finger (remaining for three days), has been used to performatively stamp a surface with the single index finger of the artist, creating an inconsistent monochrome.
2010
Graphite on Paper (Mounted)
102 X 70 cm
Drawing depicts the name fields on all passport / VISA application forms for each country throughout the world, drawn at a 1:1 scale and listed alphabetically. The universally deployed, visual language of classification reveals sets of repeating graphic boundaries within which a possible subject is presented with the imperative of inscribing herself into a system of accountancy for her very existence.
2011
Bronze Wall Label.
Enacting a moment of indecision, or the capacity of incapacity to decide.
2010
Text, Scrolling LED Screen
150 cm X 10 cm
In response to an exhibition organized under the principle of a ‘flat hierarchy’, where all artists involved were to co-curate and co-determine a ‘common’ exhibition framework, this work addresses the problematics of such models in relation to decision-making (in particular how these organizational models have been usurped into corporate management spheres to ‘improve’ efficiency and communication). The structure of the sentence-fragment loops upon itself on the LED screen, producing a ‘content-less’ playing out of its rhetorical self-referentiality.
2009
Digital Print on Industrial Grade Flag Fabric
250 cm X 150 cm | Framed: 282 cm X 180 cm X 7 cm
Pan-national Flag is comprised of the linear structure of all internationally recognized nation-state flags juxtaposed on top of one another. The drawing, as such, produces an imbroglio of nation-state graphic ideology, where a complex black ‘whole’ emerges.
2009
One bag of hand sorted confetti (by colour) ordered in a Cartesian Grid.
Each Panel: 81 cm X 81 cm framed
Total pieces of confetti +9000
The Fight Between Carnival and the Quotidian takes its point of inspiration from Pieter Bruegel’s painting “The Fight Between Carnival and Lent” (1559) where an abutment of social forces plays out in a market square between a convent and a bar/brothel. In the contemporary variant, confetti is deployed as the medium of collective bacchanal, yet a medium which has been perversely re-ordered and classified into a categorical formal system, denied of its inherent celebratory capacity. A tension ensues between the everyday taxonomies of bureaucratic structures and the chaotic plurality of things and peoples they seek to organize and (ac)count for.
2009
Archival Print, welded metal, Nike Mercurial Asian cup (2007) football
Print: 100 cm X 100 cm
A one minute English phonetic transcription of the Iraqi sport-caster announcing / celebrating the unprobable win of the Iraqi national football team in the Asian Cup in 2007, as heard from state television.
2008
Based on an ‘artistic tourism’ trip to Cyprus, these pieces look at the ways in which Nicosia brands itself as “Europe’s Last Divided Capital”. One proposal is to remake the municipal logo (a dove surrounded by the Venetian walled city), and switch it in favour of a hummingbird which is not indigenous to Cyprus, as is the only bird that can remain ‘directionless’ in flight.
2008
A text produced for a failed Tourist Guide based on ‘artistic tourism’ to the island of Cyprus
An existing text from Sir Samuel Baker was written in 1879, one year after British takeover of the Island, which assessed the islands’ ‘value’ for the British Empire. I intervened and re-wrote the text which referenced the same places we had both traveled too, Sir Samuel’s contributions in pink – the conventional colour on British maps to denote colonial territories
2007
A collaborative project developed with Markus Miessen which created an unsolicited monument proposal for the International Telecommunications Union (ITU) after an investigation about Internet governance and site blocking politics.
The proposed installation would contain variable configurations of LED screens which display (in real time) blocked or forbidden keywords, search terms and web sites from all over the world. The proposal package was sent to both the ITU and to Google Inc., Itu having ignored the proposal, and Google Inc. having sent a generic postcard response.
2007
A collaborative, multi-authored “Contract of Discord” initiated together with Societe Realiste (Paris) Mobilising the “stillborn” network of presupposed Dept. 3 “students” from the failed Manifesta 6 project. 21 authors.
2007
Single Channel Video for Projection
A Waiting Laboratory | 19:30
Actors:
Félix Kama, Fabienne Elaine Hollwege, Stela M. Katic
Estranged Proximities documents a performance of “waiting” with 3 actors. The gestures were based on micro-sociological observations of individuals waiting alone in public / social spaces in Stuttgart, Berlin & Hannover over a period of 2 months. The gestures of waiting were then improvised by the actors in a series of interactions with one another as different characters.
2006
Performing Brouhaha [Kottbusser Tor] is an outdoor public performance comprised of a “choir” which recites a phonetic based text. The text is a collection of linguistic sounds transcribed by hand on site in the hub of the Kottbusser Tor subway station. The collection is then translated in the English phonetic alphabet (as a native English speaker, I subjectively “heard” in English), and printed as a score [Partitur] for the performers.
The choir assembled in a line in street clothing directly at the site at which the text was collected. Like a typical choir they have their scores in front of them. The performers were not trained singers, for they simply speak the text. The choir simultaneously performs the noise from the street back into public space, which informed its contents.
2005
A text based series manifesting as archival prints of one side of a local newspaper (approx 38cm X 58cm each) Transcribing Brouhaha is an ongoing series of text based, site specific works which manifest as “articles” in the local newspaper. Ideally local newspapers agree to have these articles appear in the real paper – but as of yet no paper has cooperated.
2005
Photographic series – each image 90cm X 60cm, Archival print rear mounted on acrylic with aluminum back
Based on video recordings, the photos depict micro-moments of pedestrian passage in public space. The fleeting moments of ‘being with’ were layered, the surroundings deleted, leaving only a hybrid public body as a residue in a short frame of time.
2005
Single Channel video for Projection | 03:09
The video depicts pedestrian traffic on a busy shopping street (Kudamm’), where the space has been erased, creating the image of a hybrid public body as walkers mingle.
The sound component of the piece is composed of a series of texts read aloud and layered in a similar process to the images. The source of the text is the result of transcribing all linguistic fragments within the site where the filming took place.
2004
Double Channel Video and Sound Installation
T shaped structure-2.15m X 1.5m X1.4m [entrance] 6m X 1.5m X 2.15m [video corridor] 1.5m X 1.3m [projections]
A Space Traversed with Signals examines the space between individuals in the act of conversation. The work questions not the spoken words, but rather the gaps and micro-gestures within the dialogue situation, which can be understood as occupying the space of partial unpredictability – or rather a quasi noise state. Within this installation the viewer is positioned in the midst of the corridor of communication between speakers, inhabiting the fluctuating noise space between the two individuals.
2004
A Sociological Web Opera programmed and designed in collaboration with Bruno Latour and Emilie Hermant
Included within Centre Pompidou’s ‘Air de Paris’ exhibition, 2007
2003
A simulated site-specific rubber sidewalk laboratory.
(structure): 2m X 1.5m X 1.5m
(projections): 3m X 5m (approx)
slide projections, scaffolding, rubber, plastic door strips, umbrella fabric, turnbuckles
An architectural experiment situated within a surrounding of projections of a specific urban landscape. The structure literally shifts the ground from underfoot through the use of a stretched woven rubber flooring system, and intensifies the haptic sensibility of movement within the structure.
2001 Single Channel Video Animation
The contingency of normality is the focus of Reed’s artistic and textual practice. Normality can only be apprehended as a given reality through social consensus, and this consensus is inherently plastic, malleable. The play with the plasticity (potential) of the normal, both conceptually and materially, constitutes the foundation of her practice. Reed’s (often) obsessive works [...]