For Oslo-based international artist duo “First Place in the Table?” Was an impulse to form an analogy between the exhibition and soccer match. The artists frequently raises issues related to the functioning of the art world, and how it is influenced by socio-economic conditions. Their activities, based on interaction with representatives of various communities , frequently focus on studying the more.

Dysfunctional Deconstructions

Dysfunctional Deconstructions is an installation as part of Phase 4 of Skaus’ exhibition series taking place at the Rogaland Kunstsenter (RKS). Through several project phases a number of artists and artist collectives were invited to work site-specifically and independently acting on the given structures and artistic conditions that have emerged in the institutions. For these encounters to happen Skaus built a more.

Building a universe

The painting is predominantly large-scale, freely scribbled, calligraphic, and graffiti-like in scale of black colour on the gallery walls of the exhibition space in Turiec Gallery, Martin. By using the gallery architecture as a support, the project comes to light as a large diagram visualizing both the consequences of and solutions to the global crisis in the political economy of more.

LIVING IN THE BEGINNING OF TIMES 50.660940, 14.007270 / 12.19

This installation, entitled Living in the beginning of times 50.660940, 14.007270 / 12.19, referencing an a project by the same name, consists of three works: The remain of the traces of an unmentionable time, PostIsotype and Photogeny of a contextualization for a new revolution respectively. Here, the subtitle “50.660940, 14.007270 / 12.19” refers to the longitude and latitude of the more.

Deconstructing an explicit content

Although we usually avoid looking at waste as the natural resources we are exploiting, we are all causing environmental destruction. Most of us appeal to an immersion in the nature as an escape route from the city, towards a type of landscape that often has to do with visualizing a natural paradise where the hand of man is not perceived.
The more.

Insubordination of bodies

In the heat of critical discussions on labor, value and alienation, Paul Lafargue denounced the repressive imperative of work, the all-invading and foundational basis for modern capitalist economies. He manifestes the necessity of establishing the right to laziness, situating this right outside of capitalist exploitation and apparatus of discipline: “to work but three hours a day, reserving the rest of more.

Living in the beginning of times 59.923885, 10.758991 / 10.17

The exhibition, at RAM galleri, is a free continuation of the eponymous project
Living in the Beginning of times, shown earlier this year at Greenlightsdistrict National Art Festival in Skien.
The Subtitle 59.923885,10.758991 / 10.17 refers to the longitude, latitude, and time of exhibition, drawing viewers attention to concentrate on a future even taking place one hundred years later and more.

Sound Archeology

Re–imagining the past, this installation raises critical questions about human activity on Earth, and the possible future scenarios this might lead to. Using soviet sourced electronic materials, and sound elements, an analogue audio system from soviet time and a vinyl record and soil on which a bunch of local weeds thrive, this small–scale presentation portrays a temporal shift to a more.


We started from the idea of developing, in the allocated area, a series of spaces where the management of various human activities cause the least possible impact on other species and on the terrain itself; Posing a unique area of coexistence and confluence, a matrix for the world through an alliance between art and biocentrism, where the collective practice of more.

Living in the beginning of times

In this installation, the artists have responded to the notion of existing between two revolutions: the end of the industrial revolution – which defined and re-defined the relations between human production, nature and capitalism – and the first steps of the techno-scientific revolution – the anticipated way forward to minimise and reduce the negative human impact on Earth. From this more.


Ya-mae / 야매 is a site/context specific work that rises as a metaphor from the similarities between the DIY technical reparations within in the gallery room, with the tendencies in actual politics in the European Union, USA and Asia Pacific that caused the consequences for economic stability of the current global macro economy.
The reproductions of images from the gallery more.


Afterlife, proof of life after death and other related critical concepts, such as the purpose of life and reincarnation of overproduction of food from supermarkets. The project offers the possibility to use expired food in energy production. As part of our process, we developed a pilot project where we observed that fruits and vegetables produce small amounts of electricity through more.

Superfluous Identity IV

SUPERFLUOUS IDENTITY IV exhibited at Babel is part of a series of site-specific installations with the same title that examine the effects of the capitalist system and its impact on the individual. As a monstrous organism the installation unfolds throughout the rooms of Babel. Sound, objects and visual elements intertwine to encapsulate the viewer into this strange, superfluous identity with more.

superfluous identity III

The current dominant economic model has, particularly in the last decade, has proved to be a heavy-footed, exhausted juggernaut... former strength and stability, but also decay and disintegration of something that is trying to sustain in its last race.

curated by zuzana jakalova

photo: martin brazina

Bed & Breakfast

Bed & breakfast is another event of Kitchen Dialogues project, that took place in MeetFactory in collaboration with the 2015 Prague Quadrennial. Creating a social and cultural environment in our 100 square meter studio with modules/bedrooms built with recycled wood made it unique, warm and cosy, without forgetting all modern amenities. We offered accomodation to registred guests (max 12 per more.

superfluous identity II

site-specific sound installation closely related to the Koh I Noor factory and its context over century of life. 5 black metal sheets, each of them with own transducer installed on the back side projecting the sound of 3 national anthems ( austrio-hungarian, checo-slovak and Czech) marking in this way the period of time of the factory.


We take the Double Portrait of Hans Burgkmair with his wife Anna from Renaissance painter Lucas Furtenagela as the starting point for consideration of the work. The project is based on the theme memento mori that its impact in this work expanded from particular individuals, as seen on the image of the 16th century, the entire human community. The individual more.

Do It YourSelf

Kitchen dialogues come from the idea of lounging around the kitchen outside of the consumption system through the alternative of creating various social interactions. The project aims to change consumer sensory intellectual concept of overproduction of food from supermarkets. Apart of that, we also like to focus on another aspect of the project, which involves transport/ smuggling of waste though, Europe. more.

spanish (r)evolution

The video installation "spanish (r)evolution" shows how the roots of the participation of Spanish society to the disagreement of the established power system derives historically from the popular festivities in Spain; where libertarian and creative side emerged within them was the only legal form of public protest.

The aim of the piece is to generate an audible narrative that emulates the sound more.


PDP/AV1 project has been focused on investigating the possibility of viewing organic battery power through plasma screens and synthesizers. The installation, shows the research process started 4 years ago to offer the possibility of using expired food in energy production and its a direct continuation of the previous stage AV1/AV2.

The project has been produced with generous support of Art Council more.

Yes, I can (not)

The creation of the work "Yes, I can (not)" is generated by two unilateral perspectives on power politics in the global financial system. The first perspective deals on a personal level with the institutional relationship to the social talk, in a context that defines the identity of artists compared with the curator, the gallerist and academic institution. The second perspective more.

Post-Market Economy, The sound of capitalism

Prague November 17, 1989, the new country's leaders began the process of democratization by introducing a market economy and return to Europe. Companies of Western European bloc and other American competing in the sale of new home accessories, their ultimate goal; selling appliances.

The sound installation works with the intensity of perception of sounds from various obsolete appliances incapable of being more.


In the realization of Martinka Bobrikov and Oscar de Carmen for space INI appears the a specific context of space, defined by, among others, functionalist huge window behind him bizarrely placed ventilation system where the authors have used to accentuate the audio and visual aspects of the "genius loci" . These for them at the same time became the basis more.

In Process

A museum or arts centre collection is the backbone of the institution - apart from the planning and the programming. Within it is the museological plan which dictates the works´ procurement policies, aimed at building a culturally valuable and coherent collection. To which, in the case of public institutions, social responsibility is added, meaning, as well as its coherence and more.

Kitchen Dialogues

a series of environmental actions in the kitchen

This project aims to change consumer sensory intellectual concept of overproduction of food from supermarkets. In this occasion we will present food series of environmental actions in the kitchen around the theme of food surplus. We are interested in investigating the social changes among the common home environment meeting place called domestic kitchen more.


This installation aims to bring citizens closer to the no division in the social mass, with reference to the existing confrontation between Glasgow football teams of rangers and celtic football club, where there is great division between the groups in religion, politics and social economy .

The installation has the title of Old Firm that is the name that is given more.

Urban Hunter

I am a gleaner, a poacher, or a treasure hunter … for others I feed on the city’s carrion.

I have determined the representation of my work in connection with the context in which it is shown, within the framework of the institutional territory of contemporary art. I act as though I were a collector for the meeting with the museum more.


“It occurred to me that one should reverse the application of loudspeakers so that they would not merely reproduce sound but actually produce sound. The idea is based on taking any number of fixed materials and transmitting sound through them; through their resonance frequencies they become a new instrument”, wrote Tudor.

This is newly interpreted work under the direction of Canadian more.


The presented installation is been made for a tiled room, a space that is normally considered inappropriate for any type of sound pieces. This is why I am interested in the re- appropriation of sounds considered "echoes” for how they are perceived, intelligible and identifiable. These sounds are sharp, hollow, and repetitive. By that I want to promote the resonance more.

you have to go right now!

In this work the intention is not to create an object to observe, but to involve the public in an action that may be remembered. This opens a new stage in our production, with more social character in our personal work.

The work's title refers to a conversation between the artists and the manager of a supermarket, after they collected of food more.


The presented installation is based on our long lasting research of the possibilities of generating the energy from redundant fruit and vegetables. By means of a simple open hardware the energy acquired from fruit and vegetables is transformed through integrated circuits into audio-visual installations. Apart from an interesting audio-visual form the installations become the social criticism of the current consumerist more.

The Treasure Map

We would like to share with the viewer the spots where you can get free food. may be in the trash but it is not junk. They kill an animal to sell you a steak and for the rest they do not care to make it garbage, because the economic profit margin is already done.

Showen as a part of Trust more.

Entrance of the Gladiators

You do not feel what you do not see; the clean illustrated reality without possibility to face the painful truth gives no possibility to shudder at food in the garbage that are not trash.

Out of sight, out of mind, was showen in the collective exhibition Clouds of witness in Röda Sten 2010. Clouds of Witness is an exhibition of the students at more.

Made From Waste / Installation / Talking Garbage

Talking Garbage

In the art installation Talking Garbage the spectator see in the exhibition space 5 dumpsters. Within containers we show our fieldwork conducted in Santa Cruz de Tenerife, verifying through technical index cards, photographs, videos and sound documentation, the existing problems with food products destined to human consumption, which are classified as perishable by the supermarkets.

The lighting in the room is more.