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Abode of Chaos

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The Abode of Chaos (French: Demeure du Chaos) is a Museum of Contemporary Art located in Saint-Romain-au-Mont-d’Or, a small town in the vicinity of Lyon, France. It is a living sum of more than 2,500 artworks, performed by many different artists and Thierry Ehrmann, CEO of Groupe Serveur.

The artwork is based around the transformation of Ehrmann’s 17th century home into a replica war zone, at contrast with the peaceful village in which it is located. The Abode of Chaos has been the subject of an on-going law suit from the local mayor’s office. Ehrmann has been ordered to pay a fine for unauthorised construction under town planning laws but has not been ordered to restore his home to its original condition. Today he is condemned by the Court of Cassation, France’s highest court : he has to recondition his outer walls or pay a compensation.

Hassan Khan in Istanbul

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  • Lust (2008)
  • Smartphone pics
  • moments of people
  • and objects
  • base new narrations
  • reset in various contexts

Hassan Khan was presented in a complex magnificant show at the Museum Salt Istiklal (21.09.12-06.01.13). The Egyptian artist participated in a serial of events, several talks, a filmscreening and the final Music-performance “Superstructure II.” at the music club Ghetto.

Ghetto from InEnArt on Vimeo.

Listen to Sperstructure II and watch the other visuals beside!

Khan likes to compare Istanbul and Cairo. For him both metropoles have similaritis. They are chaotic melting pots with a buzzing scene of upcoming artists and other creatives gaining space in the central city spaces. But it is important to realize the distortion of daily life in this rapidly changing environments. This fact is beautifully picked as a central theme in the Videoinstallation below. A working couple using its freetime after work to walk through Cairo and to fight the whole time 🙂

Hassan Khan from InEnArt on Vimeo.

Your Time Is My Rolex

“The raven is smoking. The raven smokes all night. It smokes and smokes and smokes,” trumpets Andreas Fischer’s kinetic sculpture Rabenrohr (Raven’s Mouthpiece) while it knocks impatiently on the floor and moves on the spot. Rabenrohr, which consists of a mega-phone atop a pole, has formed part of the Museum Ludwig’s collection since 2007, and from the outset its insistently reiterated words have aroused visitors’ curiosity.

The Museum Ludwig surveys Andreas Fischer’s mechanical works in the exhibition Your Time Is My Rolex. The artist, who was born in 1972, uses motors and microprocessors in combination with found materials and objects, including armchairs and workmen’s tools, to construct sculptures that move and speak. Depriving the components of their original purpose, he incor-porates them into new contexts that grant them a different, narrative significance.

In the form of humorous mechanical parodies of human beings, the apparatuses act, complain, and accuse, obsessively telling fruitless existential tales or engaging in futile dialogues repeated ad nauseam. The machines repeat their motions and routines in endless loops, never breaking through into something different, and constantly reiterate their words, whether in soliloquies or dialogues, without reaching a meaningful conclusion.

Wirds Bald (Get a Move-On) blares out the words “It’ll get better, it won’t get better,” as a shooting apparatus repeatedly takes aim at an unidentifiable target but always jams before firing. Embodied in a machine, the all-too-human nature of the scenario has an unsettling effect on the spectator, generated by an apparent determinism that, through repetition, arouses a desire to break out of the vicious cir-cle.

Jasmina Merz

Museum Ludwig, Cologne
December 01, 2012 – March 17, 2013
Opening: November 30, 2012, 7 p.m.

Remembering Hüseyin Bahri Alptekin

Hüseyin B. Alptekin from InEnArt on Vimeo.

Hüseyin Bahri Alptekin left us five years ago and that is the only action we’ll never forgive him.

By remembering Hüseyin as a friend and artist there are thousands of valuable moments coming to my mind.

I loved his work for the Istanbul Biennial 2005. He had convinced the Monsignore of the St. Marco Cathedral in Venice to send Replicas of the Quadriga to Istanbul. They had been stolen by the Venetians during the Forth Crusade (1202-1204).

They were part of the Hippodrom in the old part of the city of Konstantinopolis and are probably of Roman origin. The robbery was part of one of the bloodiest invasions of a Capital with no mercy for the Christian population or their toppled head of state.

Hüseyin produced tiles with Horse motives for the show and was searching for a sponsor out of the the circle of the Turkish tile-industry. I am not sure if he was successful with this. His biggest problem was the lack of interest of collectors for his art during his lifetime.

It is fanatstic, that the MoMa made the work “H-Fact: Hospitality/Hostility” part of its collection last year. The evaluation of Hüseyins work he really deserved so much. Salt Istanbul did a wonderful retrospective in 2009 with the title: “I am not a studio artist”. No Hüseyin really wasn’t.

R.i.P. Love and sunshine for his wife Camilla und his son Marino.

http://senseoftime.inenart.eu/?p=2341

Robert Gernhardt’s 75th birthday

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  • People with masks
  • We are all wearing masks
  • We are passing through our lives with masks on
  • To know the reason why
  • Is a privilige of god

Creator and Creatures

On the 7th day god was resting and said:
I really went through something,

I created humans and amphibians,
both were a total failure

Sense of Time

Sense of Time is the first interactive module of the Cultural Internet Platform InEnArt.

Contact us

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