Tag Archives: L.C. von Sukmeister

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Info for the Rencontres Internationales Paris/Berlin/Madrid 2012 Competition: Tirai Cinta

Tirai Cinta (2010) means the Curtain of Love, and is a traditional dangdut song from Indonesia describing the impossible love between the poor and the rich. L.C. von Sukmeister films everyday life scenes in the poor village and more unusual high elite scenes in the rich city, balancing between these two worlds his identity as Western artist with Eastern roots is lost and the films as archive of remembrance remain.

 

Hantu – Plaster Surrogates

You stopped speaking to me and you must have your reasons. Is it for my own good? So that I might suffer less if something should happen? These are such uncertain times. I cannot bear the silence. I love you, And I told you before that I am not afraid of communicating with you through other people. You told me that the ears are the only orifice that cannot be closed. I love you. I love you. I love you. And I am passing these words out in the hope that they might find their way to you.

Credits:

Art Director: ASW

Cinematographer: Lukisan Crazy

Associate Producer: Leopold Chrétien

Set Designer: Lazy Cat

Ghost: Selvi Novita Elisa Sari

Allan: McCollum

Location: Dusun Indonesia

Location Details: XXX

Date: June 2010

Script: S. Hayes, Unannounced (2008)

Series: Tirai Cinta 2010

FUCK SEX ! LOVE ART

WAHYU!

 

SBY- Six Mile Bottom

Over a short period of time (from 29 to 30 November 2010) L.C. von Sukmeister developed a body of work marked by recurring themes such as appropriating titles of famous works of art, and appropriating art historical texts putting them in place for his own works of art. In many of his Tirai Cinta (2010) films the artist plays the role of an impassive character who abandons his Western self to the effects of Eastern life experiences. The development of this artistic figure resembles the determination of a dandy in applying a set of drastic rules to his life which question the current socio-cultural norms.

Credits:

Art Director: ASW

Cinematographer: Lukisan Crazy

Associate Producer: Leopold Chrétien

Set Designer: Lazy Cat

Frank: Stella

Artist: L.C. von Sukmeister

Location: Kota Indonesia

Location Details: Sheraton Surabaya

Date: July 2010

Script: B.J. Ader, Untitled (Vodka Party) (1975)

Series: Tirai Cinta 2010

FUCK SEX ! LOVE ART

WAHYU!

 

Mati – Factum II

In Mati – Factum II (2010) L.C. von Sukmeister films the chicken hunt, through this unsensual and macabre ritual, he reclaims a recurring motif of every day life: Food. Which reminds the viewer that death strikes all animals regardless of their condition and religion. Behind the harshness of this observation, the artist becomes aware of a vital transcendental force which he aestheticizes through both the filing of the event and attaching a Palais de Tokyo text for A. Mendieta to it.

Credits:

Art Director: ASW

Cinematographer: Lukisan Crazy

Associate Producer: Leopold Chrétien

Set Designer: Lazy Cat

Robert: Rauschenberg

Ayam: Mati

Yo: Wis Entek

Location: Dusun Indonesia

Location Details: XX-O

Date: June 2010

Script: A. Mendieta, On Giving Life (1975)

Series: Tirai Cinta 2010

FUCK SEX ! LOVE ART

WAHYU!

 

Keris – Catalysis III

L.C. von Sukmeister his latest project Tirai Cinta (2010) evolves around existential questions pertaining to life, death, good, evil. Through video his work offers a sensory experience. Von Sukmeister draws inspiration from everyday materials, such as the Keris Jawa, actions or language. In 2010 he made Keris – Catalysis III (2010) in secret collaboration with the artist Ki Manteb, sitting prominently on stage.

Credits:

Art Director: ASW

Cinematographer: Lukisan Crazy

Associate Producer: Leopold Chrétien

Set Designer: Wayang 2.0

Adrian: Piper

Ki: Manteb

Mengapa: Manusia

Location: Kota Indonesia

Location Details: X-O

Date: June 2010

Script: B. Nauman, Fom Hand to Knife (1967)

Series: Tirai Cinta 2010

FUCK SEX ! LOVE ART

WAHYU!

 

Bekel – Memory of the Good Old Time

L.C. von Sukmeister has been producing acerbic and uncompromising artwork since 2005. Using heterogeneous objects and situations through video, the artist creates unusual and caustic new video sensations. Von Sukmeister develops his work with trashy and ironic composure. The trappings of textual appropriation are the artist his playground in which he searches for roots of contemporary ennui.

Credits:

Art Director: ASW

Cinematographer: Lukisan Crazy

Associate Producer: Leopold Chrétien

Set Designer: L.C.V.S.

Main: Martin

Bekel: Kippenberger

Location: Dusun Indonesia

Location Details: XX

Date: June 2010

Script: S. Lucas, Au Pair (-)

Series: Tirai Cinta 2010

FUCK SEX ! LOVE ART

WAHYU!

 

VIP – 3 Figurationszeichen

The Dusun/Kota artist L.C. von Sukmeister created his pseudonym by combining his nickname and the we will see master craftsmanship. In 2009 LCVS did not walk an art critic through the streets of Vienna on a leash, rather he walked with a pocket full of Friendly Video Graffiti Project DVD’s through museums and galleries. L.C. von Sukmeister is an iconic member of the NAVA movement (New Art Video Appropriation) that developed during 2008 and 2009.

“I created my own name, but I never could create my own identity. It shifts from one point to another. It is not stable.”

Beyond a certain violence towards or tamper with video installations, a critical and thorough examination of what constitutes video art, in both tangible forms as well as digitally, forms the basis of his practice. In the series of Tirai Cinta (2010) L.C. von Sukmeister confronts the architecture of the home video with the form of textual appropriation. While the art of construction is generally associated with mathematics, the artist presents his direct surroundings as a unit of measurement rooted in Western art history, and in the history of Indonesian everyday life politics.

Credits:

Art Director: ASW

Cinematographer: Lukisan Crazy

Associate Producer: Leopold Chrétien

Set Designer: L.C.V.S.

V: E

VIP: Borobudur Hotel

Location: Kota Indonesia

Location Details: XOXO

Date: June 2010

Script: V. IMPORT (-)

Series: Tirai Cinta 2010

FUCK SEX ! LOVE ART

WAHYU!

 

Marah – Untitled

L.C. von Sukmeister subverts the traditional schema of the ready-made video, the home video. While Duchamp transposed reality to a symbolic order, the Dusun/Kota artist L.C. von Sukmeister engages in the opposite process. In 2009 he began to start tagging art videos in his Friendly Video Graffiti Project (2009-):

“My first ideas in 2005 were too expensive. My second ideas were not possible to realize. So I saw myself ending up with conceptual art in a simple video sauce.”

Through impotence or regression, attitude or a program, and calling on a variety of stories taken from art historical texts as well as popular custom, LCVS creates a system of absence ―of both immediately recognizable artistic practice and supposedly critical thought.

Credits:

Art Director: ASW

Cinematographer: Lukisan Crazy

Associate Producer: Leopold Chrétien

Set Designer: L.C.V.S.

M: Cattelan

Prop: Untitled

Cat: Ciprut

Location: Dusun Indonesia

Location Details: XO

Date: June 2010

Script: Maurizio C., Untitled (1991)

Series: Tirai Cinta 2010

FUCK SEX ! LOVE ART

WAHYU!

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Info for the Rencontres Internationales Paris/Berlin/Madrid 2012 Competition: The Money Shot

Walking from nightmare, I found myself upon a dismal frame story amongst dead images of cannibalizing new art video appropriation, dirty money barely hold together by museum pins and the pieces of vertical colour striped wallpaper. A young brunette kneeled nearby, her mouth was eating my tangible thoughts and melancholic memories of MAMCO’s museum space. Observer, take comfort from this: In the Art Abattoir, at least the lascivious ones are contented. For my part, I begged that she should take my Money, thus sparing me further horrifying emptiness. Unheeded, I stood in the museum space and wept, unable to bear my circumstances. Eventually tears ceased. My misfortunes were small: I was a X-Stream Dadaist and Alive.. And I knew, that life had no worse Images to offer me.

In the case of sexually based intimacy, the relationship of symbiotic base to symbolic generalization takes on particular traits which is illustrated in The Money Shot (2009). Initially this basis in sexuality explains why the protagonists set such great store on ‘absorbing each other’, on immediacy and closeness; and why they prefer to be in places where they can hope to see much lust arousing commodity art. Furthermore, it is peculiar to sexual relations that they are not realized with curious outsiders or their approval in mind. Instead they are meaningful in themselves and their further refinement does not require the surreptitious outside world.

How shall I describe her? She was horrible, like no brunette I’d ever heard tell of with skin neither pale nor wholly sun-tanned, but a subtle fair. Further, she was entangled in my Money. Terrified more she should re-submerge and drag me with her, I stood forcefully clutching the camera that had snapped off in my hand. The girl’s stained marble eye looked up at me.. And, in that instant, we knew each other! Half finished; half dead; wholly deranged by video agony; the hungry leviathan attempted to eat all of my X-Stream Dadaist practices, dragging my new art video appropriations in its bloody wake. I hung on, desperately cursing in the bitter stinging spray.. And shortly thereafter stopped filming.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: A. Moore
Camera Operator: D. Gibbons
Cinematographer: J. Higgins
Writer: N. Luhmann
Green museum pin: Metropolitan Museum of Art (NYC)
Blue museum pin: Metropolitan Museum of Art (NYC)
Orange museum pin: New Museum of Contemporary Art (NYC)
Red museum pin: Dia:Beacon Riggio Galleries (Beacon NY)
Monet: Money
Location I: MAMCO Geneva
Location II: Ste. Anne Nimègue
Artist: Unknown girl
Artist II: L.C. von Sukmeister
Date: 8 January 2009
Script I: Chapter III 2/3, 1986
Script II: A Medium of Communication, p. 27, 1986
Script III: Chapter V 20/21, 1986
Watchmen: Love as Passion
The Codification: Of Intimacy
Tales: Of the Black Freighter
Cameo: L.C. von Sukmeister
FUCK SEX ! LOVE ART

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Info for the Rencontres Internationales Paris/Berlin/Madrid 2012 Competition: Chat & Chien

Across the globe individuals  have (facebook) photo albums which often show the same sort of images of  today’s cultural landmarks. Chat  & Chien (2011) captures the anonymous daily moments on which such images come into existence.

Everywhere in this universe we see a host of signs of absurdity, of cultural capitalism, the Von Sukmeister Planetarium is full of requisites of affirmative scarelessness, shaken by the infinity of P-Funk’s space. In a single shot, L.C. von Sukmeister reveals the subversion inherent to this absurd universe.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Associate Producer: Leopold Chrétien
Camera Operator: Le Crêt
Street: Art
Location: City of Lights
Date: 16 April 2011
Script: S. Knaller, True Fictions, die deplazierten Räume des R.S.
Video: Painting
FUCK SEX ! LOVE ART
WAHYU!

Material description:
1 (Acer X110 – ColorBoost) Beamer
1 (AEG 4550) DVD player
1 DVD FVGP – Chat & Chien (2011) by LCVS             duration:          5.17min

Screen stills video:

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Info for the Rencontres Internationales Paris/Berlin/Madrid 2012 Competition

Info for the Rencontres Internationales Paris/Berlin/Madrid 2012 Competition

Image

BIOgraphy

L.C. von Sukmeister Esq. MA (b. 1981) is the pseudonym of R.S. (Suki) de Boer a para-performative artist-historian since 2005. He is of Javanese descent and is raised in the Netherlands. Trained as an art historian at the Radboud University Nijmegen, he currently works on his PhD dissertation at the VU University Amsterdam in the Netherlands. His PhD research is about art-related corporate activities by European multinational companies. In particular he focuses on a project by Clegg & Guttmann in the headquarters of the former DG BANK in Frankfurt in 1995, on a project by Maurizio Cattelan on a public square in Milan funded by fashion company Trussardi in 2004, and on a project by Andrea Fraser produced for the opening of the museum-like exhibition space of the Generali Foundation in Vienna in 1995.

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 in the culture industry. The duplication of the image and exclusion mechanisms are my central themes.

International EXhibitions:

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:

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.

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Friendly Video Graffiti Project (2009 – 2011) by LCVS @ The Saints of The New Age, art event in Istanbul, Turkey, June 20, 2012

Friendly Video Graffiti Project (2009 – 2011) by LCVS @ The Saints of The New Age, art event in Istanbul, Turkey, June 20, 2012

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

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

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