»THE CHARACTER«, 2011 by Candice Breitz.

»Translation Piece« (2002) by Jonathan Monk consists of a documented series of successive translations of a description of Robert Barry’s immaterial Telepathic Piece (1969). What begins with Barry’s statement ‘During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image’ becomes, after passing through a number of commercial agencies, gibberish: ‘in this image the way of expression of reactions of the soul attempts to come close to a work of art’.

“vvork twitter” a project by Guthrie Lonergan.

»Time-based NetTime logo interpretation« by Yariv Alter Fin.

»Believe« (Levitation in the Studio) 2002 and »Untitled« (Vulture in the Studio) 2002 are two of three videos taking place in João Onofre’s Lisbon studio. »Believe« pits the eternal power of magic against technology by inviting a traditional magician couple to perform a levitation in the artist’s studio. In (Vulture in the Studio) the wild animal climbs onto the tables mounted on easels that enclose the studio space, nibbling on the sheets of paper pinned to the wall as well as the books and catalogues arranged on shelves, and tries to take flight.

In the third video »Catriona Shaw sings “Baldessari sings Lewitt” re-edit, “Like a Virgin”« 2003, a passable vocalist interprets Madonna’s famous song Like a Virgin, but with altered lyrics: excerpts from Sol Le Witt’s “Sentences on Conceptual Art” 1969, which had already been sung by John Baldessari in 1978. Accompanying the video is an extended version original video soundtrack was released. Vinyl record, edition of 20 pieces.

»Instrumental Version« 2001, features the Chamber Choir of Lisbon, performing an acappella version of “The Robots,” an old electronic favorite from Kraftwerk’s 1978 album Man Machine. Vinyl record, edition of 20 pieces. All works by João Onofre.

“Aaaah!” and

“L’Hospice” by Gilles Barbier.

»Attributing Value (Refractions)« is an ongoing video series documenting various artist’s works. The works are environmentalized and refracted through the structural data of artist Damon Zucconi himself. Sofar completed are Bruce Nauman: 100 Live, 100 Die; Carsten Nicolai: Syn_Chron; Pierre Huyghe: L’Expedition scintillante; Richard Serra: Torqued Ellipse VI; 0100101110101101.org: jodi.org “%20Transfer”.

»Zenith Alignments«. Using star tracking software, minor zenith alignments with celestial bodies were found to occur at multiple intervals throughout the course of the day over various locations. These precise locations were located via GPS. 3-point areas were located at sites of the zenith alignments. These areas were highlighted and clearings were made to coincide with the alignments. So at the moment of the alignment Damon Zucconi would be exposing the ground and aligning himself with the line that extends to the star. These specific alignments were unique to these specific locations, occurring once an annual cycle. This could largely be seen as the process of integrating himself with 90 degree angles, in turn, demarcating larger phenomenological alignments and relations: “the body mapped onto the land onto the heavens above.”

»’At’ Asserting its Object Status«. Found sculpture.

»2d Orthogonal Line Drawing«. Drawing with laser and mirrors. All projects by Damon Zucconi.

“Harry Potter”, “Crosby” and “Mary Kate Olsen” by Hackworth Ashley.

“Tree hang one”, “Pinecone”, “Legline”, “Leap into the yard” and “Dirt roll one” by Keith Boadwee.

Autoportraits: Geisha, Unmarked, Maori, Yang Kuei Fei by Andrzej Karmasz.