Ei Wada

Toki Ori Ori Nasu – Falling Records
In this work, open reel tape recorders are placed on top of high pedestals and, as they play back, the magnetic tape unspools down into plastic receptacle below. The tape that accumulates in the container piles up as time passes, weaving an unusual pattern in the space. When the tape stops accumulating it is wound back up at high speed to a symphonic soundtrack. The pattern that had existed until then is extinguished and a new pattern is then woven.
FILE FESTIVAL

Matt Kenyon

Мэтт Кеньон
مات كينيون
매트 케년
マット・ケニヨン
Supermajor

In Supermajor, a rack of vintage oil cans sits innocuously on the gallery floor. A punctured can, located somewhere mid-stack, has sprung a leak. The oil flows out in a steady trickle, cascading onto the pedestal below; a golden-brown pool forms at its base. Upon closer inspection, however, the oil is not originating from the can. Instead, its stream is reversed. Drop-by-drop the oil flows upwards, defying gravity. At times, droplets even appear to hover in mid-air. Returning to its source, the upward ascent of oil continues uninterrupted as if neither the can’s reserves of the nor the puddle’s can ever be depleted.
FILE FESTIVAL

MICHAEL BUHLER-ROSE

Camphor Flame on Pedestal
Michael Bühler-Rose’s practices on multiple platforms influence his production as an artist. He has described his subjects as “theatrical cultural realities” and “feats of representation through place and displacement.” Bühler-Rose uses western painting styles: still lifes, landscapes, portraits, to play with previous political notions of Hindu and Indic aesthetics: representations of gods and goddesses, incense, flowers, or the saris or bharatnaytam outfits worn by young women of European descent who live in a Hindu community in Florida.

Jeppe HEIN

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Ball on Pedestal

POSTCOMMODITY

Do You Remember When?

The hole and exposed earth of Do You Remember When? becomes a spiritual, cultural and physical portal – a point of transformation between worlds – from which emerges an Indigenous worldview engaging a discourse on sustainability. The block of concrete on the pedestal – the foundation of the institution constructed on top of tribal lands – functions as a trophy celebrating Indigenous intervention in opposition to a Western scientific worldview. The closed-circuit audio broadcast of a Pee Posh social dance song performed by the collective provides the psychosocial soundtrack of the transformation process. The work shifts the sustainability from a focus dominated by Western science to a balanced approach inclusive of Indigenous knowledge systems.

MICHAEL BUHLER-ROSE

Camphor Flame on Pedestal

DANIEL EATOCK

Pedestal Props

CLAIRE MORGAN

Клер Морган
كلير مورجان
克莱尔·摩根
クレア·モーガン
클레어 모건
pedestal
A primera vista, estos objetos parecen estar en movimiento. Objetos que dan la sensación de caerse como en el caso de la manta fresa. La escultura de Belfast, Claire Morgan utiliza objetos naturales como plumas, frutas y flores que deja suspendidos de hilos de nylon obteniendo sensaciones de ingravidez o de parada del tiempo.

JEFFREY SHAW

The Golden Calf

This work is constituted by a white pedestal on which there stands an LCD colour monitor connected to computing machinery by a cable running through the pedestal. The viewer of this work picks up and holds this monitor in his hands. The screen shows a representation of the pedestal with a computer-generated image of a golden calf on top. By moving the monitor around the actual pedestal the viewer can examine this golden calf from above and below and all sides. Thus the monitor functions like a window that reveals a virtual body apparently located physically in the real space.

ANDREAS ZYBACH

Self-reproducing pedestal