»The Burqa Project« by Jean Ulrick Désert.
“Confession” by Michel Bonvin.
Darth Vader tries to clean the Black Sea with Brita Filter.
»Learn How to Fly over a Very Large Larry«. Daniel Bozhkov created a 300-by-250-foot likeness of Larry King using a 3-by-6-foot piece of quarter-inch plywood to flatten the mixture of timothy and milkweed growing in an isolated field in central Maine.
Yogurt reinforced with human DNA. All three projects by Daniel Bozhkov.
Le Truc Du Chinois, refer to (industrial) ”tableaux” you can generally find in chinese retaurants or in fast-foods. They are light boxes (originally for use in advertising – neon signs- and very often used in contemporary photography) with a mechanism that moves some filters between the light source and the back-lit picture. This gives a kinetic effect, providing the object with a kind of magic. These touched up photographs usually represent exotic landscapes : luxurious nature with azured skies and watered downs, sometimes with a water fall. By replacing these exotic scenes by council blocks, waste lands and other views of the outskirts, and by keeping only the waterfall as an element of the landscape, BBE recreates a utopian project: the “villes nouvelle” and their idyllic living environment.
Sauvageons, Bad Beuys Entertainment’s selfportrait, for which they used models.
Self-portrait with the Prosecutor Jeffrey Nice, 2003 and Self-portrait in White Shirt, 2002. During two years, Ivan Grubanov was frequently part of the severely limited audience in the trial to Slobodan Milosevic at the International Tribunal in The Hague.
Visitor series, 2002-3. Although he did not have the required authorization, he was successful evading surveillance cameras and other security measures as to make over two hundred drawings of the hearings, accompanied with short phrases that he wrote down, taken from the oral proceedings.
“The Miniature Long March” by Qin Ga. Long March Space: “Mao’s ‘Long March’ symbolized the deliverance of the Communist ideal to the Chinese proletariat. It is with this symbolism in mind that we now choose to march contemporary art out to China’s peripheral population.”
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