For the 2014 Competition: Hoax – The Archive (2014)

Hoax: The Archive (2014) by LCVS


Nowadays everybody shoots videos. There is millions of material on the internet. But what does amateur footage of sweeping events around the world tell us? Is there a discrepancy with professional footage? And does one sometimes masquerades as the other, and vice versa? Can people challenge mainstream media? Or is the moving image in general always transforming any form of truth or reality? Is amateur video a threat to the powers that be? if so, are all of our controversial opinions on social media automatically archived and put into big data by out of sight national security agencies?


Work description:

Two flat screen TVs hanging with cables from the ceiling, 80cm from the ground in juxtaposed position. Under each TV a yoga mat with pillow. The circumference of each TV determines the size for the foam plates/cloths (approx. 4m height), which form the ‘Twin Towers’.


Material description:

2 flatscreen TVs

2 yoga mats

2 pillows

8 foam plates, or 2 cloths

8 cables

1 video Hoax: The Archive I

1 video Hoax: The Archive II


Installation view:



Hoax: The Archive - gallery installation -

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LC von Sukmeister in: The Jakarta Globe, September 9, 2013

Catriona Croft-Cusworth. ‘Art of Deception Unveiled at RuRu’s OK. Video Biennial.’ In: The Jakarta Globe, September 9, 2013 .

 jakarta globe

2013.9 18 september jakarta globe II


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LC von Sukmeister Artist Statement



L.C. von Sukmeister Esq. MA (b. 1981) is the pseudonym of Suki, a para-performative artist-historian since 2005. He is born in East Java, but is raised in the Netherlands. Trained as an systems theoretical art historian at Radboud University Nijmegen, he is an autodidact chaotic art maker based in Amsterdam.

Artist stateMENT

I invent artistic concepts for installation art, performance art, and video art. I try to raise questions both on the authenticity and originality of art’s nature (and the allographic nature of digital arts in particular), as well as on the institutionalized context of art (the space, site, platform for art exhibition and distribution) and its corporatization/financialization in the culture industry. The duplication of the image and exclusion mechanisms are my central themes.

International EXhibitions

Beyond the Senses, Design Column #8 Droog Gallery, Amsterdam, Oct 1 – Nov 9, 2014, with ...A Story About (2014) in collaboration with Eliza Mante

OK.Video 6th Jakarta International Video Festival organized by ruangrupa, Jakarta, Indonesia, September 5-15, 2013, with The Art Collector (2013) OK.Video 6th Jakarta International Video Festival

The Saints of The New Age, art event in Istanbul, Turkey, June 20, 2012, with his Friendly Video Graffiti Project (2009-2011)

OK.Video 5th Jakarta International Video Festival organized by ruangrupa, Jakarta, Indonesia, October 6-17, 2011, with his Friendly Video Graffiti Project (2009-2011) OK.Video 5th Jakarta International Video Festival

SMart Multimedia Arts Festival, Grand Rapids (MI) United States of America, April 4-8, 2011, with his
Friendly Video Graffiti Project (2009-2011) SMart Multimedia Arts Festival

Venice Biennial 2009 @ Padiglione Internet, in the Wikipedia Art Project by artists Scott Kildall and Nathaniel Stern with the video work Banned Wikipedia Art Attempts to Intervene with Banned Airlines into Art Venues in Vienna (2009) Wikipedia Art

Presentation of multi-media installation Concept XIII (2009) at the ‘Think Ahead! Open Platform’ Award Competition by Netherlands Media Art Institute (NIMk), Amsterdam, May 9, 2009.

Featured in the PUBlications

LC von Sukmeister. ‘OK.Video.’ In: Metropolis M, October 6, 2013.

Catriona Croft-Cusworth. ‘Art of Deception Unveiled at RuRu’s OK. Video Biennial.’ In: The Jakarta Globe, September 9, 2013 .

R.S. de Boer. ‘Site-Specific Work of Art in a Corporate Context: An Exploratory Guideline for Critical Artists.’ In: Continental Breakfast. Place of Encounter. Fifth CEI Venice Forum for Contemporary Art Curators (ed. Giuliana Carbi), Trieste Contemporanea, 2011, pp. 166-187.

R.S. de Boer. ‘Kunstige bedrijvigheid: Apenrots of Kunstwalhalla? Professionalisering van corporate collecting en de noodzaak van kwalitatief onderzoek.’ In: Kunstlicht, 30: 3/4, 2009, pp. 14-20. ISBN 978-90-73588-48-6. ISSN 0921-5026

R.S. de Boer & Stefano Mirti. ‘…les boys got leather straps les boys got SS caps…’ In: Fetisch + Konsum (eds. Jean-Baptiste Joly, Catherine Perret, Julia Warmers), Akademie Schloss Solitude, Stuttgart (Germany) 2009, pp. 221-241. ISBN 978-3-937982-24-3

R.S. de Boer. ‘De waarneming van de beschouwer waargenomen.’ In: Desipientia, zin & waan, 14:12, November 2007, pp. 34-37. ISSN 1386-1069

Daily newspaper nrc•next: Karin Quint (2009). ‘Zij proberen zo ergens binnen te komen.’ In: nrc•next, Wednesday, February 25, 2009, pp. 22-23

Ad Valvas VU University newspaper: Daphne Lentjes (2009): ‘Kunst voor plant en publiek.’ In: Ad Valvas, June 18, 2009, pp. 16-17.


Co-curATEd exhibitiONS

Construct – de – Construct, Droog Gallery, Amsterdam, The Netherlands, July 23  – August 31, 2014.

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The Art Collector (2013) by LCVS

The Art Collector (2013) by LCVS @ OK VIDEO 6th Jakarta International Video Festival organized by ruangrupa, Jakarta, Indonesia, September 5-15, 2013.

The first sin and possible crime is voyeurism. What are you doing now? Is the art gallery the legitimate place where we permit ourselves to be licensed voyeurs?

Work description:
An untitled painting by LCVS with a peephole in the middle on the wall. Through the peephole the gallery visitor can see a single channel video.

Article in Jakarta Globe

Article in Metropolis M

Material description:
1 Painting by LCVS
1 14 inch Digital Photo Frame
1 SD memory card The Art Collector (2013) by LCVS                                           7.22min

Installation view:






video video

Screen stills:

55 53 62 58 still 60

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Nite Clubbb – Painting for the Closed Museum (2013) by LCVS

Nite Clubbb - Painting for the Closed Museum 2013

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June 29, 2013 · 7:49 pm

Papedronio en de Bam Bam takken (2013) by LCVS

Vote for it in The Guardian 2014

Papedronio en de Bam Bam takken

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June 29, 2013 · 6:46 pm

For the Útil 2013 Competition: Use Less + (2013)

Use less + (2013) by LCVS

Útil 2013

The Use Less + installation simply challenges everything, and the use of aesthetics in communication in particular. Although the installation might seem a bit old-fashioned in the smartphone + google glass age, it is nonetheless less functional. People can instantly use the installation for whatever they like, except for disconnecting the power cable. A video example of a body workout is projected on the table on the wall. If people want to use the installation in a more ‘constructive’ mental and social manner, they can surf the internet to search for a job, sign a petition in support of Ai Weiwei or against animal cruelty, et cetera. But people are also free to not use the installation, or to only aesthetically use it without any actual outcome. The content of the installation is thus always open for alteration.

use less installation view

Work description:

The installation Use Less + ( (2013) contains a random table, chair + chair, and computer with internet connection which people can use for free. A video (CLICK HERE) is projected on the table on the wall next to attached A4-papers.

A photo of the installation will appear on When people google the work they can see the installation in which they take part. During the Útil 2013 exhibition I will also shoot a little video of the installation and upload it, which then can be seen in the work itself on and the lcvonsukmeister Youtube-channel.

On the computer screen a collection of photo’s from newspapers and other material will run as screen saver, which of course is changeable by any other user of the installation.

A4-papers consist of articles/quotes from:

Bourdieu, Pierre & Haacke, Hans. Free Exchange. Stanford University Press 1995.

Diederichsen, Diederich. On (Surplus) Value in Art. Sternberg Press 2008

Dienst Uitvoering Onderwijs, Verzoek verlagen maandbedrag studieschuld 2012.

Financial Stability Board. Update of group of global systemically important banks (G-SIBs). Basel, November 1, 2012.

Gielen, Pascal.  The Art Scene. An Ideal Production Unit for Economic Exploitation? Open 2009.

Holmes, Brian. ‘Liar’s poker. Representation of Politics/Politics of Representation.’ In: Springerin,1, 2003.

Morozov, Evgene. The Net Delusion. The Dark Side of Internet Freedom.  New York 2011.

Riding, Alan. ‘Slides and sunbathing: Art or entertainment?’ In: The International Herald Tribune,  Thursday November 2, 2006.

Saltz, Jerry. ‘Money, Insularity, and a Huge Controversy for the New Museum.’ In: New York Magazine, November 11, 2009.

Saltz, Jerry. ‘Art Moralists. Give the New Museum a break.’ In: New York Magazine, November 15, 2009.

Saltz, Jerry. ‘Saltz on Defending the New Museum.’ In: New York Magazine, November 16, 2009.

Sontag, Deborah & Pogrebin, Robin. ‘Some Object as Museum Shows Its Trustee’s Art.’ In: The New York Times, November 10, 2009.

Spam e-mail by mr. Mong Hoi, Tuesday December 27, 2011.

Stallabrass, Julian. Art Incorporated. Oxford University Press 2004.

Thompson, Don. The $12  Million Stuffed Shark. The Curious Economics of Contemporary Art. New York 2008.

Žižek, Slavoj. First as Tragedy, Then as Farce. London 2009.

Et cetera

Material description:
2 tables

2 chairs

1 laptop or PC connected to the internet and free of use

1 video projected on the wall

several A4-papers which I tape on the wall



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