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.

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.

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

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.

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.

The Protester

This sound documentation presents an urban intervention, which took place in Malmö on the 29th of March, 2012, between 12pm -2pm.

Through a powerful sound system installed in a danish van used for demonstration in Copenhagen, we drove through the city projecting the sound of a crowd. “The Protest” started in Möllevångstorget and proceeded towards Triangeln, Föreningsgatan, Amiralsgatan and then surrounded 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.

Utopic topic

Utopic topic, is a context specific performance, whose purpose is to create through disinhibition, the interruption of the automated human behavior in private spaces encouraged to binge. In this context, the experience of disinhibition we carried Contemplating, perceives the confrontation as a tool for compulsive consumption through aesthetic experience. In this way we create new sensory experiences in private spaces, 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.