The piece Visible World consisted of light tables on which the artists had arranged 2,800 slides that they had taken on their travels around the world. The result was a personal reading of the idea of the atlas – or better still, the anti-atlas – as a process of documentation of the facts, places and knowledge of everyday life.
The twelve monitors that made up the video installation Untitled (1995) screened 96 hours of video footage taken by Fischli & Weiss during their regular strolls through Zurich. Thus, ordinary and apparently anodyne reality conquered territories that are ordinarily set aside for fiction and mystery.

Piller systematically collects and classifies images according to aspects that may be poetic but may also underscore the utter absurdity of everyday life. Peter Piller’s picture archive project, that has been under way for more than ten years, operates as an encyclopaedia of contemporary life, full of astute observations, gravity, wit, irony and profound significance.

Peter Piller works with pictures from completely different sources. In regional newspapers, in company archives, found old postcards or the Internet, he finds pictures that he “had always wanted to make”. He looks for stereotypes in his source material as well as recurring motifs and similarities in order to produce shifts of value and meaning. By eliminating contexts and working out new connections, Peter Piller demonstrates to what extent photography is inalienably accompanied by a manifest or hidden “text”. His operations on visual material uncover the mechanisms of the construction of meaning through pictures.

Hans-Peter Feldmann insists that he’s not an artist. He dislikes such labels, because for him, the so call “Art” is simply part of the everyday life, nothing more nothing less. Born in 1941 in Dusseldorf, Germany, Feldmann started cutting and collecting pictures from books and magazines at the age of five. In the last 65 years, the series of action of collecting, cataloguing and rearranging images has never ceased. It’s a habit; it’s a need as well.

Über Jahre hinweg hat Oppermann streng methodische und raumgreifende Bildinstallationen, sog. «Ensembles»,
aus Wahrnehmungen und Reflexionen von Ereignissen, Normen, Geschichten, Emotionen und Theorien entwickelt.
Diese stilllebenartigen Arrangements aus Bildern, Fotografien, Texten und Alltagsobjekten sind exemplarisch und
einzigartig für die Kunst der 1970er Jahre.

Folk Archive is a vibrant, visual account of contemporary popular British culture by the artists Jeremy Deller and Alan Kane. Bringing together drawing, painting, film, performance, costume, decoration, political opinion and humour, and some astonishing objects, Folk Archive celebrates activity from a vast range of British pastimes and pursuits, and demonstrates that folk art in the UK is both widespread and vigorous.

Die aus Russland in die USA emigrierten Künstler Komar & Melamid zeigen in ihrer internationalen Kunstumfrage The Most Wanted Painting / The Least Wanted Paintings, wie stark der kulturelle Geschmack bereits den Gesetzen der Globalisierung folgt. Im Internet und mit Hilfe professioneller Umfrage-Institute wurde in vierzehn Ländern nach ästhetischen Vorlieben und dem durchschnittlichen Publikumsgeschmack in der Malerei geforscht. Dass die Ergebnisse dieser ironischen Statistik im WWW dokumentiert sind, ist kein Zufall. Als weltweites Informationsnetz wurde das WWW nach dem Ende des Kalten Krieges zum Schlüsselmedium des globalen Ausstausches mit seinen Kernbegriffen der Globalisierung, Ökonomisierung und Demokratisierung.

museum of bad art

stolen-art-register