arpeggia:

Nathan Hylden - Untitled, 2010, lacquer on stainless steel

-slizard:

best interest

Jenny Holzer - Truisms (1977-79)

Los Carpinteros

Banks Violette, Untitled (Tristar Horse), 2008

video projection on water vapor

Bas Jan Ader

Ai Weiwei, Chandelier, 2002

Felix Gonzalez-Torres’s Untitled (Perfect Lovers), 1991

[The work] consists of a pair of inexpensive, plain-faced wall clocks, ticking away side by side. The instructions for installation insist that the two be set at exactly the same time, but because of their imprecise mechanisms, it is only a short time before one of the clocks falls a second or two behind the other. “The beauty of the piece is that it is a very perfect image of what a couple is, trying to stay on the same page but never actually being able to,” says Molesworth. (via)

Gonzalez-Torres dedicated the work to his lover Ross Laycock, who died of an AIDS-related illness the same year.

Matt Woodward, graphite on paper

blue-voids:

Michel le Belhomme

Marc André Robinson, Right of Return (By Themselves and of Themselves), 2008-2010, found wood

Jannis Kounellis, Untitled (12 Horses), 1969

In January 1967 Kounellis organized a solo exhibition in Rome at L’Attico, directed by Fabio Sargentini, where he exhibited twelve live horses. He relates that he was inspired by a phrase by André Breton in Le surrealisme au service de la revolution, according to which something could happen that was as impossible as the Tartars bringing their horses to drink at the fountains of Versailles. This led him to bring horses into the space of a private gallery, with all its economic and social connotations, with the stated intention of creating a radical tension, a cut in communication and in the tradition enjoyment of art. With their uncontrollable and vital presence, the horses intimidate viewers, forcing them into a situation of passivity and uneasiness. Above all, they physically condition the neutral space of the art gallery, to the point of altering its meaning and raising doubts about its perceptual structure. From an anonymous and abstract place, tied to intellectual activity, the gallery becomes a concretely real space, open to stimulating all the senses. (via)

Adam David Brown, Eclipse, blackboard with layering of the scientific notations of Newton, Einstein, and Hawking in order to make a black hole

Yayoi Kusama, Infinity Mirror Room - Phalli’s Field (Floor Show), 1965