DEAD DARLINGS 3.12.2011. ! T N E GH
s u o m y n Ano Auction Art #7
Auction / Veiling 03.12.2011 19:00 – 22:00 (After Party – Café De Robot) Viewing days / Kijkdagen 02.12.2011 14.00 – 18.00 03.12.2011 10:00 – 19:00 Location / Locatie Anatomic Auditorium ‘Cirque’ (KASK Ghent) Louis Pasteurlaan 2, 9000 Ghent, Belgium
Participating Artists in Alphabetical Order: Alexandra Leykauf Angela Lidderdale Annelies de Mey Annemie Augustijns Antonia Carrara Anu Vahtra Arno Roncada Bert Danckaert Bieke Depoorter Dirk Braeckman Egon Van Herreweghe Elisabeth Tonnard Etta Säfve Fia Cielen Glenn Geerinck Jeroen Lambertyn Johan Swinnen Joris Vandecatseye Josephine Wood Juliana Borinski Karin Borghouts Katleen Vinck Katrin Kamrau
Liam Tickner Lucie Renneboog Maarten Dings Marnik Neven Martine Derks Matthias Tharang Matthias Wollgast Nick Hannes Pantelis Makkas Paris Tselios Paulien Barbas Pedro Ramos Qiu Yang Reinhilde Terryn Sara Deraedt Sarah Eechaut Stijn Van Dorpe Tania Theodorou Thomas Manneke Vincent Delbrouck Wim Wauman Xavier Fernández Fuentes Yana Foqué
Dead Darlings #7 Auction Programme
The following Publication serves as an Auction Programme and a Works Archive with corresponding Lot Numbers.
Ghent, Belgium 2011
Title: Bühne Year: 2010 Materials: Photographic Inkjet Print on Hahnemühle Photo Rag 305 g. Dimensions: 60 × 40 cm Starting price: 46,98 €
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Bühne is a work which I staged in the storage room of a foam factory, where they make these fillings for furniture and mattresses. After this rather quick intervention I took out my camera and exposed the censor to the light falling down on these golden objects, for approximately 45 seconds. Afterwards it was stored on my computer for over one-and-ahalf year, almost forgotten, and now, for the occasion of the Dead Darlings Auction, I blew of some dust and printed it on a nice sheet of paper. Why a ‘Dead Darling’? I always loved the piece but on the other hand found it just a little bit to dramatic. Maybe it is because of the gold, I don’t know. I still hope it will fit in a show someday and it’s hard to let it go, but I’m happy to officially declare it a ‘Dead Darling’ by this submission.
Title: Hurt Year: 2007 Materials: 645 Mamiya on negative Dimensions: 15 × 20 cm Starting price: 50 €
02.
I’m looking for what seems to be displaced and therefore relates with the viewer. It’s not solely about the subject, it’s the feeling we encounter that counts. How do we materialize security, protection, solitude and desolation within us as well as in the outside world? This picture was made because of the beautiful light and the isolation of the place, but as an unwilling act the slide has been damaged during the developing process. For me this suits so well in this image, the light, the isolation and the damage, it hurts!! Because of this unwilling isolated act giving this image more depth, it suits the idea of a ‘Dead Darling’.
Title: Directions Year: 2011 Materials: Photograph Dimensions: 16 × 12 cm Starting price: 35 €
03.
I took this image during one of the portrait series I am working on with another photographer. It’s a dead darling to me because of his directions visible in the picture; they make it useless in the series but the photograph still shows an intriguing composition.
Title: Is That You Year: 2010 Materials: Photograph, Barite Print Dimensions: 10.8 × 15 cm + white border Starting price: 49 €
No description / for Verena.
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Title: Zoo, series ‘The Show’ Year: 2003 – 2010 Materials: Photograph, Archival Pigment Print pasted on Dibond Dimensions: 41.5 × 59.2 cm Starting price: 49 €
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This a ‘Dead Darling’ because of the wrong presentation. And it is also a dead branch. I photographed a lot of habitats in the zoo without showing animals. These showcase functions as a metaphor for photography itself.
Title: Paradise Lost Year: 2003 Materials: Potlood op papier Dimensions: A5 Starting price: 45 â‚Ź
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Paradise Lost is een serie van 20 kinderportretten die ik maakte in 2003. Mijn tekenstijl is intussen helemaal veranderd, maar men kan in deze kinderportretten reeds elementen herkennen die later in mijn werken terugkomen, oa het unheimliche karakter van de tekeningen, het monsterlijke dat er in doorschijnt‌
Title: Fading Year: 2009 – 2011 Materials: Pigmented Inkjet Print on Archival Matte Paper Dimensions: Image 29.9 × 40.8 cm Starting price: 40 €
Fading is a photograph of a torn and fading print on canvas of a photograph by an unknown photographer. The original image shows us some kind of musical show or ceremony, a public festivity performed by a group of Asian women. The faded colors of the damaged image influence its interpretation: The ageing photograph suggests that the depicted subject in itself belongs to the past, that traditions are fading and it bring to mind China’s history of communism. This is a clear example of the power of photography to mislead the viewer: as I have witnessed in the summer of 2009 – when I
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took this photograph in Beijing – (musical) group performances in public places are still quite common throughout China. At the same time the work addresses a shift in the way many contemporary artists use the medium of photography: a shift from making traditional ‘documents of a here and-now scene’ to using postmodern strategies like appropriation and recontextualization. I consider this image a Dead Darling because I find it interesting and lovely. Nevertheless, with its specific connotations it hasn’t really found it’s rightful place in my main bodies of works just yet.
Title: Yerevan, Armenia Year: 2006 Materials: Color Photograph Dimensions: 40 × 50 cm Starting price: 35 €
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On a hill in the outskirts of the Armenian capital Yerevan, old Red Army warplanes and weaponry are displayed around an impressive statue called ‘Mother Armenia’. A two week trip to the southern Caucasus in 2006 initiated a long term project about the former SovietUnion. While compiling a photo book on this project, I found out I had made more good pictures in Armenia than in any other country. To keep the content well balanced, I had to kill this darling, along with others. Once the book had been published, I already regretted this one is not in it. Editing is a never-ending process…
Title: Johnny Year: ≈2005 Materials: Paper, tear tape, black ink, aluminum foil Dimensions: mirror 17 cm, dice 2 cm Starting price: 1 €
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‘Johnny’ is een vergeten werk (zelfs ik was het vergeten). Desondanks is het toch een zeer belangrijk werk. Het is een van de eerste papieren objecten dat geen prototype was maar een echt werk. Het werk stamt uit een korte periode waarin ik zowel qua idee als materiaal de mogelijkheden van papier aan het uit zoeken was. Het werk is kort na het maken wegens een verhuis in een doos beland en is er recent pas terug uitgekomen.
Title: Hole in Ice Year: 2007 Materials: Crayon on Paper Dimensions: 24 × 32 cm Starting price: 2 €
10. Drawing worked as one starting point for a continuous series of crayon drawings made from 2007 onwards. The motive has reoccurred in my practice in different ways since, now it’s leaving way for new imagery. I hereby pass it on as a ‘Dead Darling’.
Title: Fuck Cops Love Mohamed Year: 2011 Materials: Photographic Print Dimensions: 20 × 30 cm (mounted) Starting price: 18 €
Moving away from the determination not to include people in my photographs (the only exception being self-portraiture) I started pointing the camera at strangers in a seriously voyeuristic way this summer. “Fuck Cops Love Mohamed” is an early example ‘suffering’ from the lack of a descent focus in my camera and the anxious trepidation at it’s “early” approach… Both these elements led to a low resolution image which was hard to print. The series taken in June and July of 2011 around immigrants’ secret locations and during late night ‘window watching’ in the crumbling apartments of the city center have eventually produced clearer, printable images initially rendering this unusable. Well, here is it’s opportunity…
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Title: Wie der Hund, so sein Herrchen Year: 2006 Materials: 36 Polaroids, mounted on cardboard, cardboard box Starting price: 20 â‚Ź
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When living in Berlin I one day walked out into the Mauerpark and started photographing dogs and their owners. I took a photo of the dog, one of the owner and one of them together. The result is a game in which one has to match the dogs with their owners.
Title: Color Lab #5 Year: 2010 Materials: Photogram Dimensions: 50 Ă— 70 cm Starting price: 30 â‚Ź
This is my favorite from a series of 7 photograms based on a C-print I made in 2010. Originally this image was meant as a part of a photographic installation. Later I removed it because of its strong graphic appearance that didn’t fit into the final body of work.
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Title: Back to the Future Year: 2011 Materials: Silkscreen on paper Dimensions: 80 × 60 cm Starting price: 10 €
The extensive act of exploration, accompanied by the ongoing adaptation of visual documents, defines the parameters of my work. The results coming along with that approach are widely diversified and occasionally don’t match the intended outcome of my artistic strategy. Nevertheless, that kind of procedure continuously generates pieces I can’t help falling in love with—even though those beloved stepchildren might never see the light of the day. Regarding this, the piece ‘Back to the Future’ relates to an iconographic investigation, which elaborated visual phenomena of superiority.
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Title: Untitled – Room Year: 2008 Materials: Photograph Dimensions: 50 × 70 cm Starting price: 20 €
This is a picture I took during a short visit to Berlin a few years ago. Only later when I had printed the picture I saw the subcutaneous tension. I had never imagined that this space or a snapshot I made could have such an impact. Afterwards I felt stupid, cause all I did was making a photograph. Framing what was already contained in reality. (Since my English is poor I’ll ad my Dutch trail version also)
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Dit is een foto die ik maakte gedurende een kort bezoek aan Berlijn enkele jaren terug. Het was pas later, toen ik ‘m geprint had dat ik de onderhuidse spanning zag. Ik had voordien nooit kunnen denken dat die ruimte of het snapshot dat ik ervan gemaakt had zo’n impact kon hebben. Ik zat ongelooflijk verveeld met een idioot gevoel aangezien het enige wat ik gedaan heb is een beeld maken. Inkaderen wat er reeds in de realiteit besloten ligt.
Title: Searching, Looking for Love… Year: 2000 Materials: Sculpture made from food, C-Print Dimensions: 15 × 17 cm Starting price: 11,11 €
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This sad-looking man made from egg and submerged in a bowl of beans marks the end of an era in my work and personal life. Having spent many years making sculptures out of food, I came to the end of the line. Looking back at this work, it evokes a sense of failure and defeat. The egg man, unsuccessful in his plight for “love” - still searching, mirrors the hope that I felt and then ultimate defeat. The sculpture had a very short life span, two days, after which it went rotten. I am glad that I was able to capture its short life through the photo. He lives on in my memory.
Title: Sarah on the White Tabouret Year: 2005 Materials: C-print Dimensions: 32 × 48 cm (with borders 50 × 60 cm) Starting price: 50 €
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Image from a personal fashion series made with stylist Giulia Bassi. I shot all the images in the leisure apartment of my grand parents in Knokke, a “very bourgeois” place of my childhood. I mixed the pictures shot with two girls (from a fashion agency) and one guy, with pictures from the albums of my family. On this picture Sarah is standing on a white tabouret from the kitchen, the same my grand parents also had in their house in Brussels. The blue folding screen is also very important in this series, as it was the case in the fiction of my childhood.
Title: Untitled (Sulfur Dioxide Emission) Year: 2008 Materials: Photograph Dimensions: 40 x 32 cm Starting price: 50 â‚Ź
18. Digital composite representing the volcanic emission of sulfur dioxide from the vent of a crater.
Title: William Henry Fox Talbot Revisited Year: 2001 Materials: B&W Photograph Dimensions: 30 × 40 cm Starting price: 33 €
The critical work on the history and the contemporary of photography I have pursued the last thirty years was guided by the idea of ‘translation’. The photographic image and the photographic apparatus have been treated as a discovery of ‘Otherness’. The project of this critical and endless adventure may be named as an attempt to conceive photography as an allegory of an unattainable, but constantly present presence, the photographic image being the resonance of a volume it is touching like ‘a tangent’. To move towards such a criticism implies to avoid any canonisation of the photographic image and consequently, any historicist and formalist approaches. Photography is to be approached by literature, music, sculpture, numeric cryptology and cultural heritage. The method developed in this photograph taken at W. H. F. Talbot’s house close to his garden of Lacock Abbey may be called a non-hermeneutical method, that challenges
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any attempt of freezing up the process of signification. Instead it considers photography as an unfolding of signifiers. Talbot discovers the positive/negative photographic process, which was his most important achievement and one which formed not only the basis of photography as we know it today but also the whole foundation upon which the reprographic arts are based. This photograph is my ‘Dead Darling’ because this picture lost his relevance to my actual work, but has remained relevant for me, because of the meaning during the course of their making. I was surprised to discover a pictorial photograph in my darkroom complete different of the image I took a week before. On this way I discover ‘the paradox of photography’ as a means of making the visual world visible by breaking through the conventions of perception and disobeying the photographic apparatus ‘instructions for use.
Title: Save the Last Dance for Me Year: 2004 Materials: Lambda Print Dimensions: 40 Ă— 50 cm Starting price: 10 â‚Ź
While I was looking for new images, in an abandoned and destroyed old club, I found a 35mm film lying between broken colorful bulbs. This work is one still, from that film. The club is now closed, but the last dance will always going to be remembered!
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Title: The Complexitivity of a Gamish Travel Into the Realm of the Real Year: 2011 Materials: Oil crayon on paper Dimensions: A3 Starting price: 47 €
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I consider this work to be a dead darling because it never reached the height the installation works made, but nevertheless this work was needed for the realization of several installation works. This scrabble drawing keeps on inspiring me not only in the work, but also how to look at daily things and from that point it falls back into the way my artistic practice gets shape. It’s about simplicity although it tends not to be, in an obvious way – hence the title.
Title: Rainbowrain Year: 2011 Materials: C-print Dimensions: 13 Ă— 20 cm Starting price: 1 â‚Ź
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Title: Music Was My First Love #3 Year: 2008 Materials: C-print & 35mm slide Dimensions: 20 × 14 cm Starting price: 5 €
A slide sandwich combining a found image from the archives of a music school with a close up of a poster on a city wall. A ‘chance encounter’ that was unable to transcend itself into being more than just that. A fond memory from back in the days, when I was just improvidently playing around with photographic material. Sometimes I still do. It’s a Dead Darling because it’s too pretty on the outside and I need to get rid of it to prevent myself from ever trying to incorporate it into my work (where it will never fit in). The 35mm slide is the original and works much better than the print. In order to resist temptation even more, the buyer gets the slide as well. Bye, bye darling….
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Title: Dag Maarten Year: 2011 Materials: Vingerhoed en briefje Dimensions: 2 × 2 × 3 cm, 16 × 16.5 cm Starting price: 1,85 €
Propje in vingerhoed. De bedoeling is dat het propje ontvouwd tot briefje bij veiling voorgelezen wordt. De tekst is een antwoord op de mail die me toegestuurd werd betreffende de vraag tot deelname aan ‘Dead Darlings’ Gent. De startprijs is de winkelprijs van de vingerhoed.
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Title: No Title Year: 2007 Materials: Silver gelatin print / collage Dimensions: 22 Ă— 30 cm Starting price: 40 â‚Ź
I found the image the collage is based on in a book about caves. There is a whole series of photographs with people in front of cave entrances in my collection. All of them show somebody in relation to a black hole. Sometimes it is the explorer who found this particular entrance, sometimes it is just somebody to give a sense of scale. I collected those images because I found it curious how the reason for and subject of the picture is the absence of anything else and anything else (grass, some rocks, a human being) is
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only there to point out this absence. The black whole triggered my imagination, I like the juxtaposition between the endless depths of the caves I imagine and the black surface in my hands. The collage in this auction was made after I had already stopped collecting cave photographs. I cut one of my least favourite photographs a part and taped it back together in a reversed order. I like it a lot better like this but it never connected to any other work and I hardly ever show one image alone.
Title: Dance With Me Year: 2011 Materials: Photograph, Found Footage Dimensions: Variable (five prints and forty-nine rolls of film, developed) Starting price: 0,00 €
‘Dance With Me’ consists of 6 prints, 1 little sheet of paper and 49 rolls of aps-film. This batch of found footage was found on the 4th of November 2011, a couple of days before the submission deadline of DD#7. In exchange for the acquisition of ‘Dance with me’, the buyer should make something new with the material included (e.g. write a text, make a selection and use the images, try to find the original owner…). By donating this I give someone else the chance to give this dead footage a new life. This responsibility should be taken quite seriously, and I’m willing to be involved in any way necessary or possible.
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Title: / Year: 2008 Materials: Foto in kader Dimensions: 3: 20 × 13.3 cm Starting price: 50 €
27. Een beter portret van dit meisje had ik zelf niet kunnen nemen. Ze toonde mij de foto’s, omdat we elkaars taal niet spraken en om me op die manier even binnen te laten in haar verleden. Telkens weer opnieuw heb ik zin om deze foto’s boven te halen, want ze hebben voor mij een heel sterke aantrekkingskracht.
Title: Backfire Year: 2009 Materials: C-Print Dimensions: 28 × 42 cm Starting price: 5 €
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‘Backfire’ stems from a shoot for one of my works. Directing eleven flashlights at a vitrine in which pottery was shown, the intention was to create a light reflection in each pot on display. At the very moment this shot was taken, unexpectedly, none of the eleven flashes fired. Amongst the pictures taken during the shoot, this was the only one where – despite of the many lights directed at it – the scene remained completely dark. The opposite of the desired effect, but at the same time one of my favorite photographs.
Title: Untitled Year: 2010, Liege Materials: Photographic Print Dimensions: 30 Ă— 40 cm Starting price: 1 â‚Ź
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I made this photo in Liege in the summer of 2010. While editing a book about it, this was one of the images that I excluded at the very last moment. To me it looks like a contemporary version of the work of Edouard Boubat. A bit romantic for these times.
Title: Simple Present, Gregory and Paul’s, (New York) Year: 2009 Materials: Photograph, Archival Pigment Print on Fine Art Paper (Hahnemühle) Dimensions: Paper A3, image 28 × 18,67 cm Starting price: 50 €
A picture I took at Coney Island, New York in 2009. Almost funny enough to survive, probably too funny to survive.
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Title: Vivre sa vie Year: 2009 Materials: Silkscreen on Poster Paper Dimensions: 80 × 120 cm Starting price: 5 €
A film poster after a booklet made long ago by an old friend. High-resolution 1:1 reproductions were composed into a poster format, showing the complete 32-page booklet at once. Texts are excerpts from the script of Godard’s 1962 film ‘Vivre sa vie’. From film to publication, from publication to film poster. Edition of ten, printed with Kees Maas. Original booklet by Toshimasa Kimura, 2005. This poster was a dead darling even before making it; once a friend made a booklet of
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which he gave me one of the proofreading copies, and I always treasured it since. I always treasured his friendship too, anyway we lost contact quite some time ago, so it was more of an homage to some memories, something that I just had the energy for. I made this poster for an open call for designers, but it never made it anywhere else than to my shelves at the studio and the wall in my room. And well, I did send one copy to Japan for him, too.
Title: Blond Girl on Metro – Budapest Year: 2011 Materials: Photographic Print Dimensions: 38 × 57 cm, framed 60 × 80 cm Starting price: 20 €
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‘Blond Girl on Metro’ is digitally photographed and printed on barite paper. It was made in Budapest during a road trip through Eastern Europe. While sitting in the metro in Budapest my eye fell on the blond hair of a girl. The texture, the color, the movement in the lines, the light, … everything was there. I immediately started photographing because the next stop she could be gone. It went fast but it felt as time and my thoughts had stopped for a while.
Normally I prefer making photographs in places that aren’t crowded. And usually people are banned from my frame. My reaction in Budapest was rather rare and so was the image resulting from it. I fell in love with this photograph but at the same time experienced difficulties placing it next to my other work. For this auction I could call ‘Blond Girl on Metro’ a Dead Darling, but inside I feel this photograph could become the beginning of a new way of looking and photographing.”
Title: Martin im Kosovo Year: 2009 Materials: Watercolour on wood Dimensions: 15 × 20 cm Starting price: 30 €
My ‘Dead Darling’ shows a German soldier posing for a picture in front of his car. The picture is part of the last series of paintings that I did. But not only did I stop painting short after that. I also never worked with human figure in my art since then. It is a dead darling to me, because on one hand I really like what I did at that time but on the other hand it helped me to find what is most important to me and changed me a lot. I don’t need the human figure, but the photography became a big focus. I’m not painting anymore with a kind of gesture or handwriting, but I came back to working with color, especially in the sense of color as a material. The only way this piece can ever be
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presented is probably as a dead darling. Also with regard to the theme of the picture the term of a dead darling could make sense: It is a picture of a darling, because I found it in a online photo album. The title is the description his mother or father gave to the picture. And it might be that this darling is dead now as he is a soldier. I really like the contrast between the feeling of a daily life with a standard pose in front of the camera and the fact, that the posing person might be in serious danger. I tried to translate it in the contrast between the banality of the original photography from a family album and the fact that the piece is painted.
Title: Irreconcilable Differences Year: 2011 Materials: Black pen on colored nature print, mounted on plastic sheet Dimensions: 24 Ă— 17 cm Starting price: 5 â‚Ź
In some ways this is a very typical example of my work: A pre-existing image with personal meaning that has been somehow altered. What is not typical (I like to think) is the simplicity and overt intentionality of the gesture interrupting the image. These two love-birds, these common pheasants, had been perched in their heart-shaped configuration and framed in gold during my
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longest and most meaningful relationship. The frame broke around the same time my heart did. I kept the image and one day drew a line through it. Right in the middle of the heart. It’s pure cheese. However, the way their heads face the same direction, while their tails point at opposite ones makes this symbolic gesture, just ambiguous enough, to feel like giving it another chance.
Title: Het is wat het is Year: 2007 Materials: Fotografie Dimensions: 30 × 42 cm Starting price: 40 €
Het liefst belicht ik het onderwerp in zijn volledige gestalte. Het is wat het is. Tijdens een van mijn zoektochten, reed ik doorheen een pittoresk “tussendoor”landschap op weg naar iets beters, tot ik in de verte getroffen werd door een vreemde massa in een boom. Niet direct wat ik zocht, maar het was zo geheimzinnig en esthetisch, dat het snel een voetstuk (foto) waard werd. “Het is wat het is” maar ik weet niet wat het was.
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Title: Wasteland Year: 2007 Materials: Silkscreen on paper Dimensions: 130 Ă— 70 cm Starting price: 40 â‚Ź
36. Who needs a map anymore, these days.
Title: 37 seconds in a room with a bird Year: 2008 Materials: Photography Dimensions: 33 Ă— 48 cm Starting price: 30 â‚Ź
37. Niettegenstaande het moeilijk is om te omschrijven naar wat men op zoek is; vindt men wat men niet zoekt.
Title: Samson en delilah Year: 2010 Materials: Porcelain & paint Dimensions: 3D – 18 cm diameter Starting price: 75 ₏
Painting of a dog emerging from left-over paint. The image is formed in the residu from the basicmaterial for another painting.
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Title: Atlantis Year: 2011 Materials: Xerox print on paper Dimensions: 118.9 × 84.1 cm Starting price: 10 €
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Atlantis was a 5 star hotel integrated in a utopian rural touristic village created in the late 1960’s / early 1970’s for the inhabitants of a Portuguese island’s capital city. Besides apartments and villas, the complex included Olympic swimming pools, diving platforms, an international bridge club and the island’s first shopping centre. The hotel was eventually demolished in 2000 where its images were broadcasted live on the local TV station. At the time I was in school and didn’t get the chance to witness one of the biggest happenings and most beautiful yet destructive moments created by man on that island. I take this moment as part of my personal history and I still create an ideal reconstruction of it in my mind every time I visit the area or go through resources that depict it. Atlantis is my dead darling.
Title: Simple Subtraction Year: 2011 Materials: Digital print Dimensions: 24 × 35 cm Starting price: 0,50 €
40. Description: A moment from an ongoing affair, significant enough to be called a ‘Dead Darling’.
Title: 1+1=0 Year: 2009 Materials: Sculpture Dimensions: 3 × 3 × 3 cm Starting price: 110 €
The Work “1+1=0” is a dead darling as it is firstly precariousity, which I turned into joy. The title is a calculation that doesn’t become true and represents the symbolic value of money that is 110€ or do you think it worth even more? Its up to you! In 2009 the world wide crisis took over in Europe its first evolutions were impossible to ignore. I declare “1+1+=0” as a dead darling as it was the first time ever I reflected directly on economic value, within my personal artistic practice. It created for myself a liberation from my former body of work that abstracts, but converges with what and how I want to deal with in general: deconstruction and
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liberation from images (moving or still) and or prejudices which also concern the practice of the art-market system itself. “1+1=0” interrogates the creation and dissolution of value. By hybridizing exchange value objects (1euro coins) and luxury goods (jewels), I create a third sphere of value. The destruction of money and of its related value, for the pleasure of turning it into a jewel, projects money on another side of value as such. Inside the very jewel is a competition between value systems: value of luxury, value of money, value of art. As objective as it is, “1+1=0” remains a node of conflicts and continuities within whatever value can be.
Title: Zonder titel Year: 2007 Materials: Inktjet, photography Dimensions: 22 Ă— 32 cm Edition: 7 Starting price: 50 â‚Ź
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Voor mij is dit een Dead Darling omdat het iets te onscherp is, te veel refereert naar een schilderij en een te groot Luc Tuymans gehalte heeft.
Title: Defiance, At Large Year: 2010 Materials: Found photographs Dimensions: 59.4 × 84.1 cm Starting price: 10 €
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The Ohio prison database is available to search online. After discovering this, I began to archive the prison photos of inmates from the prison system in a county called Defiance. I had planned to create a larger project cataloging all of the prisoners who had been released, but who had broken the rules of their parole and were considered to be a fugitive “at large”. I began to organize them based on the shape and amount of their facial hair, eyeglasses or facial tattoos. All of which are some of the few forms of physical expression of individuality (or conformity) these men have recourse to during their incarceration. The categories were: Clean, Glasses, Tattoo, Moustache, Medium Stubble, Stubble, Goatee, Medium Beard and Beard. I began to create a book where I charted out each prisoner based
on these attributes, especially focusing on the physical similarities that began to emerge as I sorted them. I never completed my collection, because after passing the 526th prisoner I began to become a bit too haunted by all the faces and listed crimes from their profiles. However I still find it interesting to see how each person chose to pose in these photos, and the way in which each person’s individual appearance begins to merge with another, to the point in which the prisoners began to look like the same person. I still have the collection saved, and hope to maybe continue with it in some way one day. Until then I decided to archive some of it into poster showing a sample of 280 prisoners from the collection, organized by their facial hair style.
Title: Wit landschap Year: 2005 Materials: Photo, Inkjet Print of photomontage made directly in the darkroom printing several negatives onto one sheet of paper Dimensions: 18 × 23 cm Starting price: 25 €
This work was made because I am interested in the use of white space. Before making it I had used white space mostly in literary works, not yet in a photowork. It was also one of my first attempts at breaking away from printing a straight photo in the darkroom. Later on these notions became important in my project Ithaca, an Itinerary, even though the actual images that are in the montage are not present in that project. The work also makes me think of certain short prose texts I wrote at that time and which were published in the literary magazine Revolver under the title “Kleine wereld” en “Het koude landschap”.
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Title: Tourist Year: 2011 Materials: Pigment Print mounted on 10 mm hard-foam Dimensions: 130 Ă— 100 cm Starting price: 10 â‚Ź
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Title: Zonder titel Year: 2009 Materials: Digitale print Dimensions: 42 × 29.7 cm Starting price: 45 €
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Dit werk was een eerste aanzet tot een reeks 2-dimensionele beelden waarin ik artificiële landschappen, -settings en bunkerarchitectuur ben gaan samenbrengen. In de uiteindelijk reeks heb ik voornamelijk met museale opstellingen als diorama’s, panorama’s enz. gewerkt waarin gereproduceerd landschap en architectuur werden opgenomen. Dit beeld
vormde een aanloop daar naartoe, maar is nog minder bepaald wat de setting en het artificiële kader betreft en is daardoor uiteindelijk niet opgenomen in de definitieve reeks. Het betekende daarentegen voor mij wel een belangrijke stap om mijn uiteindelijke kader scherper te stellen.
colophon Dead Darlings would like to thank: vzw Punctum (Maarten Dings, Joachim Naudts and Dimitri Vermeylen) for inviting and hosting us in Belgium, NERO Magazine in Rome for letting us print at their headquaters, Liene Aerts for all her enthusiasm and kind assistance, our helping hands Paris Tselios, Matthias Tharang, Adam Etmanski, Egon van Herreweghe, Sarah Van der Auwera, Teun De Voeght, Stefanie Dieleman and Joseph Miceli. Last but not least, and most of all — the Artists who entrusted us with their work and made this possible.
Concept: Tania Theodorou & Lina Ozerkina Design: Lina Ozerkina (Friends Make Books) Printing & Binding: Rome, Italy by Friends Make Books Typefaces: Dadissima and Vinny (AlfaType Fonts) DD#7 Team: Maarten Dings, Joachim Naudts, Lina Ozerkina, Tania Theodorou Edition: 120
www.deaddarlings.nl www.punctum.be
With the kind support of:
over dead darlings Dead Darlings is een anonieme en subversieve reeks veilingen die voor het eerst plaatsvond in 2005 in Amsterdam. DD#7 is de eerste editie in België en is een samenwerking tussen Dead Darlings en vzw Punctum. Naar traditie worden de werken anoniem geveild. Dit in een poging de werken een kans te geven om op zichzelf te staan, ongeacht de naam en faam van de maker. Daarom worden alle werken enkel begeleid door hun titel. De namen van de deelnemende kunstenaars staan alfabetisch gerangschikt, maar wie welk werk maakte wordt pas duidelijk nadat het werk verkocht is. Dead Darlings zijn werken die hun relevantie binnen het oeuvre van de kunstenaar verloren hebben maar voor de kunstenaar zelf nog steeds van waarde zijn, omdat ze van belang waren bij het creatieproces. Het zijn de onschuldige slachtoffers van het artistieke proces. We willen ze bevrijden van die context en de werken de kans geven gekoesterd te worden om de kwaliteiten en charmes die ze als uitzonderlijk en autonoom beeld bezitten. De veiling vindt plaats in een ongedwongen, informele sfeer waarbij de handeling van het kopen en verkopen onderdeel van een performance wordt. Het enthousiasme voor deze buitenbeentjes brengt kunstenaars en kunstliefhebbers samen. Wij zien het als een bevrijding, waarbij elke ‘darling’ de tweede kans krijgt die ze verdient…
About dead darlings Dead Darlings is an anonymous and subversive auction series that started in Amsterdam in 2005. DD#7 is the first edition that will take place in Belgium and is a collaboration between Dead Darlings and vzw Punctum. By tradition, we auction the works anonymously. We do this in an effort to give the works an opportunity to stand on their own, free of the names of their creators. Therefore, all the lots will be introduced by title only. The names of the contributing artists are listed alphabetically, but will not be revealed in connection to the works until sales are final. Dead Darlings are works that have lost their relevance to the final work of an artist, but have remained relevant to him or her, because of their meaning during the course of their making. They are the innocent victims of the artistic process, and we want to give them a chance to be liberated from that context and appreciated for the qualities they display as singular autonomous entities. The auction is held in an informal and casual atmosphere where the act of selling and acquiring art becomes a performance in its own right. The building of enthusiasm for these little outcasts binds makers and lovers of art together. We see it as a liberation, where every Darling gets the second chance it deserves.
www.deaddarlings.nl