2009
Digital Print on Industrial Grade Flag Fabric
250 cm X 150 cm (unmounted)
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
Edition of 250 custom gold-plated pins, Contract (3 X A4 white frames)
In response to a invitation for an exhibition dedicated to collectors where no financial exchange was possible, a contract was created (a modified version of Seth Siegelaubs’ 1971 contract “The artist’s reserved rights transfer and sale agreement”), wherein all financial exchange agreements were replaced with those pertaining to pure belief in the current and future works of the artist. An edition of 250 gold-plated pins were created as a take-away item for potential ‘collectors’, denoting their virtual agreement with the terms of the contract. The work directly addresses the currency of the artist-personality which is implied in any sale of work, but is never explicitly drawn up within the legal framework.
2009
Two bags of hand sorted confetti, one bag sorted (by colour) and ordered in a Cartesian Grid, one launched in the air and landed randomly on the floor
Each Panel: 76 cm X 76 cm
Total pieces of confetti +9000
Hommage to Pietr Bruegel and Mikhail Bakhtin
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 practice of multiple naming began in 2001 as a by-product of physical displacement, and as an adaptive game in negotiating foreign cultural/linguistic contexts. The name is acquired after a period of acquaintanceship with a “local”, and as a gift, cannot be refused or negotiated. Names are not an alias, but rather a compounding of the original name, as such they are notated as follows:
Pia Fuchs deutsche Identität von Patricia Reed.
