De Vleeshal die Kunst (zw)(h)eet, an Institutional Critique by L.C. von Sukmeister

TIFX ! wordpress

2012-01-17T07:22:00.000-08:00

Please visit The Idea Factory ~! site http://tifx.wordpress.com/

the art abattoir is temporarily closed due to unhygienic arty behaviour.

The Idea Factory

2011-12-29T04:36:00.000-08:00

dear reader of this blog, the art abattoir has got a new rival on the scene: The Idea Factory. in contrast to the art abattoir The Idea Factory will not slaughter works of art but will contribute new designs and concepts for artists without creative ideas.

FVGP coming soon to Jakarta..

2011-09-27T05:34:00.000-07:00

Friendly Video Graffiti Project (2009-now) very soon at OK.Video

0MPRZL 20mg PRN 1NDUSTRS

2011-09-27T05:30:00.000-07:00

Sometimes L.C. von Sukmeister asks himself whether porn stars have, in fact, a romantic notion of their profession. The failure of the sexual revolution may have been such a traumatic experience for them that they are incapable of analyzing what role they played then and what role they play today.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Set Designer: L.C.V.S.
Sound Editor: La Claudication
Camera Operator: La Croupade
Dr Kunst: 20mg
Video: PAiNT
Location: iNet
Music: EEMU 085-NEW-0000, GG-QUEEN roule 01
Inspiration: Insomnia
Frames: 2275
Date: September, 27, 2011
Script Consultant: H.Haacke & P. Bourdieu, Free Exchange (1995), p. 65
FUCK SEX ! LOVE ART

Blue Dutch

2011-09-26T09:31:00.000-07:00

This work could also be titled ―a reconstruction of the objet trouvé in blue minor. Conversely, the video of the dead-end sea in perspective becomes, by means of optical effect, the extension of the sky and resembles a virtual passage to the beach. This sort of spatial installations engages nobody and generates additional symbolic but unnecessary and insuperable meaning.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Set Designer: L.C.V.S.
Sound Editor: La Claudication
Camera Operator: La Croupade
Music: Le Cyanate
Sea: Wadden
Island: T.
Prop: Blue
Location: T.
Location Details: Beach Pole 15
Date: August 11, 2011
Script Consultant: D. Dražić, 04 DEAD-End Blue, L00ks L1ke We’ve Been Here Befor3, Trieste Contemporanea 2010, p. 18.
FUCK SEX ! LOVE ART

FORTHCOMING @ NICTOGLOBE

2011-09-01T08:33:00.000-07:00

Friction Research // Reclaim the Mind, Friction Research Issue #4 // FVGP forthcoming @ Nictoglobe

Dr. kunst u even kijken?

2011-08-28T16:37:00.000-07:00

Dr. Art Ificial plays the flute? Finger exercises. You can fight back with a league. Cows full of sh1t and m1lk. Still too ignorant. Look over there. Land owners. Socialism. It’s too good to last. That’s right you finish setting the traps. Make a little breeze. He even has seen Garibaldi. Holes in my pocket too. For the onion season. I think it’s time. Long live. Hurray. Go back to the land owners. Get a doctor over here! Moving on! What are you doing fool? Starting a one man War?! You are making a flag Video for the people!!

Credits:
Art Director: Suki il Contadino
Cinematographer: Leopold Crazy
Photography: LCVS
Sound Editor: La C.
Associate Producer: Le Chrétien
Camera Operator: La Comunista
Music: Kurt H.
Dr. Kunst.
Video: PAiNT
Location: iNet
Date: 29 August 2011
Script Consultant: B. Bertolucci, negentienhundred hentschläger.
Dr. Art Can You Take a Look?
FUCK SEX ! LOVE ART
WAHYU!

Water to the Sea

2011-08-24T08:37:00.000-07:00

The sand building is situated near the centre of the island. On the second floor wave, the first door on the right shell leads into an abandoned, empty flat sea. This place cannot protect anymore. The space is run-down watery, filled with rubbish and dirt. There is no one to keep YOU from coming in. There is no control over the relationship between ME and the flat sea. We are allowed to build private space ourselves. The rhythm wave is repetitive, uncontrolled, dominant. The sea occupies the space and the waves.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Sound Editor: La Claudication
Associate Producer: Leopold Chrétien
Camera Operator: La Croupade
Music: Le Cyanate
Sea: Art
Location: The Island of Terschelling
Date: 13 August 2011
Script Consultant: D. Dražić, 07 One Sea in the North, L00ks L1ke We’ve Been Here Befor3, Trieste Contemporanea 2010, p. 24.
Video: Painting
FUCK SEX ! LOVE ART
WAHYU!

FVGP @ OK. Video– 5th Jakarta International Video Festival 6-17 October 2011

2011-07-05T10:06:00.000-07:00

Dear L.C. von Sukmeister,

Pleasant greetings!

On behalf of ruangrupa, we are pleased to present OK. Video– 5th Jakarta International Video Festival, which will be held in Jakarta on October 6 – 17, 2011. Attached is the scheme of the festival for your perusal.

OK. Video – Jakarta International Video Festival is a biannual video festival held since 2003 by ruangrupa, a contemporary art organization in Jakarta, Indonesia. OK. Video is one of the events organized by ruangrupa to discuss the social and cultural phenomena in Indonesia and the international world withing a festival with a specific theme.

We would like to invite you to participate in this festival. Your video work will be presented in the theme "Private-Public", curated by Mahardhika Yuda & Rizki Lazuardi. This section will showcase the video works that examine our consciousness about what we consider as the private and the public. The presentation will challenge the ideas of spaces and territory. Our curators will contact you to talk about his artistic and curatorial approach for the festival.

For further information or inquiries, please contact our Assistant Artistic Director, Ibnu Rizal.

Thank you very much for your kind attention and we look forward to hearing from you.

Yours truly,

Deasy Elsara

Friendly Video Graffiti @ SMART Project Space

2011-07-05T07:05:00.000-07:00

With his Friendly Video Graffiti Project (2009 - now) L.C. von Sukmeister isolates an image or scene from its (virtual) narrative surroundings and tries to untie the image from what it shows or represents —but at the same time he decides to work with images and words that are suggestive and evoke (narrative) associations.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Associate Producer: Leopold Chrétien
Camera Operator: La Contestation
SMART: Project
Friendly: Video Graffiti Project
Prix: de R.
Costume Designer: Kop-art Istanbul
Location: SMART Project Space
Location Details: Arie Biemondstraat 105-113, NL-1054 PD Amsterdam
Date: 5 July 2011
Script: B.P. notes on Bildspaltung, SMART Project Space
Series: Friendly Video Graffiti Project 2011
Part XIV: Amsterdam
Space Part XIV: SMART Project Space
FUCK SEX ! LOVE ART
WAHYU!

Forthcoming FVGP @ Jakarta OK Video

2011-07-05T06:33:00.000-07:00

Dear Sukmeister,

My name is Rizki from Indonesia. I am a friend of Diah, the manager of Nadi Gallery, Grand Indonesia, Jakarta. Once we have met for a brief while I picked Diah up in the front of Grand Indonesia.

Diah told me lot of thing about you and your artistic works. I have also seen your blog and video channel. I like your work a lot.

Probably you have heard about OK. Video, Jakarta biannual international video festival organized by ruangrupa. Ruangrupa takes 'Flesh' as theme of the 5th-festival theme. OK. Video Festival 2011 conceives flesh as a metaphor of biological entity of the human body that transforms into digital entity (images, sounds, texts) through the advancement of audiovisual technology. More or less, it is about performativity on video.

The festival itself will be in 6-17 October 2011.

I am one of five curators of this festival. My program called 'Private-Public'. Focusing on private video in public channel. Regarding this matter, I am interested to your 'Friendly Video Grafitty' to take part in the program. Your work has a strong concept to relate on this issue. This is an informal invitation. If you agree to participate, I will coordinate with the committee to send you the official invitation.

I also believe that your presence and presentation are also important as well as your video. Thus I would like to know whether your time is available during this festival (6-17 October). If it so, i will try to find possibility with our supporting partner to invite you to come.

Thank you for your attention. Have a nice day.

Looking forward to hearing from you soon.

Kindest regards from Jakarta
Rizki Lazuardi
'Private-Public' program curator
OK. Video FLESH
5th Jakarta International Video Festival 2011
http://okvideofestival.org/

Chat & Chien

2011-07-04T09:57:00.000-07:00

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
Script: S. Knaller, True Fictions, die deplazierten Räume des R.S.
Video: Painting
FUCK SEX ! LOVE ART
WAHYU!

FVGP legally on display!

2011-04-19T11:24:00.000-07:00

Friendly Video Graffiti Project @ SMart Multimedia Arts Festival, Grand Rapids (MI) USA 4/9 April 2011

Friendly Video Graffiti Project @ SMart Multimedia Festival

2011-03-29T01:36:00.000-07:00

FVGP Statement March 2011

For his multi-layered Friendly Video Graffiti Project (2009-until now) the conceptual artist L.C. von Sukmeister (1981) enters a range of renowned and lesser known museums and galleries all over the world. He secretly intervenes into an exhibition space by taking an art video DVD out and replacing it with his own DVD. He does not steal or break the original DVD, but leaves it intact on top of the DVD player and only adds his DVD to the exhibition space. At the same time he also briefly films his intervention act with a little camera in a single shot take, stops, and then flees from the exhibition space. When he intervenes into a next exhibition space, he illicitly installs a DVD which contains the filmed images of the former intervention. Again he tapes this intervention in a single shot take. Eventually with each successful intervention that follows, all the previous filmed interventions are projected in an exhibition space. In the final step the artist uploads the friendly video graffiti images on his Youtube channel on the internet.

With his intervention the artist wishes to contemplate on the concealed status of artistic images on a DVD disc. Is the DVD disc only recognized as a work of art if the images which it contains are visible and shown in the exhibition space? Or is it also a work of art if it is just a regular DVD disc that lays on the ground without its images being visible for the viewer? Furthermore, the artist also aims to question the in- and exclusion politics of the exhibition space. Who or what decides the ultimate status of a DVD as work of art; the curator, the artist, the visitor, or an anonymous DVD player?

During the SMart Multimedia Arts Festival 4-8 April 2011 Grand Rapids (MI) the viewer can now witness from the very start the coming into existence of the Friendly Video Graffiti Project. But at the same time he is also confronted with the fact that he cannot see the whole projection of all interventions that is taking place in the video. Because at a sudden point the single shot take is cut off, since the artist has to flee before getting caught. This leaves the viewer in the SMart Festival with only mere bits of the filmed interventions. The real-life interventions were acts of a past which had already been executed. On the internet and now during the SMart Festival the viewer can see the whole Friendly Video Graffiti Project. But here again the crux remains that the viewer is still cut off from the moments of the real-life interventions. This finally results in the never-ending question what or even where the real work of art can be?

LCVS

FVGP soon at SMart Festival Grand Rapids MI

2011-03-18T15:11:00.001-07:00

Friendly Video Graffiti Project (2009-2011)

soon at Open Concept Gallery's SMart Festival in Grand Rapids MI ...

Friendly Video Graffiti @ CCA Wattis Institute for Contemporary Arts

2011-03-18T15:10:00.000-07:00

LCVS creates evocatively oblique narratives in his video and intervention works. Combining an unsettling, wry humor with a low-tech, Guerilla Intervention sensibility, LCVS plays a character whose interactions with the everyday art world are both mundane and irritating, in a museum sphere just slightly askew. As his protagonist navigates through the enigmatic and possibly magical properties of the museum and gallery spaces, L.C. von Sukmeister initiates relationships with art videos and curators which are at once banal and uncanny.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Associate Producer: Leopold Chrétien
Camera Operator: Lust Caution
Set Designer: W.E. Jones
Music: Killed (2009)
Costume Designer: JaeYoon Jeong
Location: CCA Wattis Institute for Contemporary Arts
Location Details: 1111 Eighth Street, San Francisco, CA 94107, The United States of America
Date: 17 February 2011
Script: Band of Outsiders, CAA, ARTspace Media Lounge, S. Mouton, The Galactic Pot Healer, video, 8 min. 32
Series: Friendly Video Graffiti Project 2011
Part XII: San Francisco
Spaces Part XII: CCA Wattis Institute for Contemporary Arts, The LAB, San Francisco Museum of Modern Art, SF MOMA Artists Gallery at Fort Mason
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ The LAB

2011-03-18T15:07:00.000-07:00

Treating Youtube as an archive, a series of video intervention works that appropriate professional art images posted in museum and gallery spaces, reconstructing how image posting and response —and the online communities dedicated to theirpropagation— performs the mass-identified narrative of individualism that capitalism proposes. The ongoing Friendly Video Graffiti Project (2009-2011) videos cathect issues of museum-specificity, sexual intervention, nonprofit, globalization and self-marketing within the larger codings of belonging and isolation, sameness and difference this vast aggregation of online video documents evokes.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Associate Producer: Leopold Chrétien
Camera Operator: Lust Caution
Set Designer: E. Wood
Costume Designer: Mario Matteo
Location: The LAB
Location Details: 2948 16th Street, San Francisco, CA 94103-3613, United States, The United States of America
Date: 17 February 2011
Script: Band of Outsiders, CAA, ARTspace Media Lounge, A. Siegel, My Way I, 2009
Series: Friendly Video Graffiti Project 2011
Part XII: San Francisco
Spaces Part XII: CCA Wattis Institute for Contemporary Arts, The LAB, San Francisco Museum of Modern Art, SF MOMA Artists Gallery at Fort Mason
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ San Francisco Museum of Modern Art

2011-03-18T15:06:00.000-07:00

While operating as an actual mom-and-pop style store, Shadowshop is also a platform for exploring the ways in which artists are navigating the production, consumption, and dissemination of their work. Four themes (1. artwork-as-commodity, 2. cultural souvenirs, 3. bootlegs and counterfeits, and 4.alternative distribution systems) will contextualize selected projects that are both complicit with and also critical of capitalist circulation.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Associate Producer: Leopold Chrétien
Camera Operator: Lust Caution
Shadow: Shop
Set Designer: S. Syjuco
Location: San Francisco Museum of Modern Art
Location Details: 151 Third Street (between Mission + Howard), San Francisco CA 94103The United States of America
Date: 17 February 2011
Script: Shadow shop, Stephanie S.
Series: Friendly Video Graffiti Project 2011
Part XII: San Francisco
Spaces Part XII: CCA Wattis Institute for Contemporary Arts, The LAB, San Francisco Museum of Modern Art, SF MOMA Artists Gallery at Fort Mason
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ SF MOMA Artists Gallery at Fort Mason

2011-03-18T15:05:00.000-07:00

The Friendly Video Graffiti Project (2009-2011) is the outcome of a research in intervention-concept and movie-making, questioning the ‘fit’ between outsider art and guerilla art intervention. (But it also can be read as a tribute to the hardly recognized Dutch action painter Willem de Kooning.) What you did and not me: is not to intervene and hunt for an outcome but to write a sort of critique instead.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Associate Producer: Leopold Chrétien
Camera Operator: Last Cro-Magnon
M: Hammer
Costume Designer: Billtornade Paris
Location: SF MOMA Artists Gallery at Fort Mason
Location Details: Building A, Fort Mason Center, San Francisco, CA 94123 The United States of America
Date: 15 February 2011
Script: Band of Outsiders, CAA, ARTspace Media Lounge, Melle H., Project 1
Series: Friendly Video Graffiti Project 2011
Part XII: San Francisco
Spaces Part XII: CCA Wattis Institute for Contemporary Arts, The LAB, San Francisco Museum of Modern Art, SF MOMA Artists Gallery at Fort Mason
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ Brooklyn Museum

2011-03-18T15:03:00.000-07:00

LCVS is an internationally known and beloved artist, originally from Surabaya, he cut his teeth as an artist in the online art scene between 2005 till present where he attended the Selfmade Hard Knock Institute of Arts and was under the influence of the notorious New Guerilla Intervention Department. L.C. von Sukmeister his at times precarious and radically vulnerable work encompasses performance art, video installation, video intervention, visual art, filmmaking, and writing. Currently LCVS holds the position of rotten apple of the New Media and Live Art at Rensselaer Polytechnic Institute.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Photography: LCVS
Associate Producer: Leopold Chrétien
Camera Operator: Latest Craze
Street: Art
Friendly: Video Graffiti Project
Shadow: Shop
Costume Designer: Billtornade Paris
Location: Brooklyn Museum
Location Details: 200 Eastern Parkway, New York City, NY, The United States of America
Date: 20 February 2011
Script: Band of Outsiders, CAA, ARTspace Media Lounge, N. Bustamante
Series: Friendly Video Graffiti Project 2011
Part XIII: New York City
Spaces Part XIII: Brooklyn Museum
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti Project

2011-03-05T03:14:00.000-08:00

tHE nEWEST Edition of the ongoing FRIENDLY VIDEO GRAFFITI PROJECT (2009-2011)

Friendly Video Graffiti Project (2009-2011)

mailing klashorst

2011-01-16T08:06:00.000-08:00

an Peter Klashorst
aan "L.C. von Sukmeister"
datum 16 januari 2011 11:00
onderwerp Re: keep it up! puik werk
verzonden door peter-klashorst.com
details verbergen 11:00 (6 uren geleden)
Hoi Suki , bedankt voor je compliment en ik heb je video's bekeken ...ja alles is beter dan in de kroeg hangen in Amsterdam ..erg saai daar ,maar dat kan op zich ook interessant zijn om dat dan juist te filmen die treurige kroegtijgers en tijgerinnen ...ben benieuwd naar je volgende conceptuele video ..veel succes en de groeten !

Verstuurd vanaf mijn iPad

Op Jan 15, 2011 om 0:28 heeft "L.C. von Sukmeister" het volgende geschreven:

- Tekst uit oorspronkelijke bericht niet weergeven -
dag peter klashorst,

ik had gewoon eens zin om op deze vrijdagavond, waarin half amsterdam zich in een of andere kroeg perst lekker binnen te zitten en kunst te maken en ook gewoon eens mijn blijk van waardering voor jouw werk te uiten!

heb je ooit eens zien schilderen op tv, toen zakte niet mijn maar jouw broek af,

dat was wel het leukste wat ik van je gezien heb, die vulva is trouwens ook mooi,

ik probeer soms zelf ook werk rond kutten te maken, maar het kan goed zijn dat je niet geïnteresseerd in andermans prutswerk bent, enfin, de kut is nogal lastig, vandaar dat ik soms ook titten neem als onderwerp

misschien vin je mijn videocollage werkjes geinig die de kut en/of titten als artistiek onderwerp hebben,

wacht ik stuur ze dan toch maar bij, de link dan,

The Money Shot (2009)

Dick & Jane in Japan. Flemish Flamenco Style (2010)

Suffer Love LCIX @ 69 Square (2009)

Berlin Titquest (2008)

fijne groet,

suki

Art Video Series Playlist

2011-01-11T06:40:00.000-08:00

New on youtube: The complete list of art video series by LCVS

Friendly Video Graffiti Project (2009- ....)

Tirai Cinta (2010)

Operation Silver Flower. Or How to Burn Swiss Money(2008)

Berlin Titquest (2008)

Minimal Reality (2006-2008)

Friendly Video Graffiti Project 2009-2010

2010-12-12T16:21:00.000-08:00

FRIENDLY VIDEO GRAFFITI PROJECT 2009-2010 // LCVS

Hantu – Plaster Surrogates

2010-12-01T01:50:00.000-08:00

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

2010-12-01T01:49:00.000-08:00

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

2010-12-01T01:48:00.000-08:00

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

2010-12-01T01:24:00.000-08:00

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

2010-12-01T01:23:00.000-08:00

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

2010-12-01T01:21:00.000-08:00

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

2010-12-01T01:20:00.000-08:00

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!

FVGP soon in the RECLAIM the MIND Friction Research Issue #4, Spring 2011

2010-11-29T11:33:00.000-08:00

LCVS sent in his FVGP as submission for the RECLAIM the MIND Friction Research Issue #4, Spring 2011. Hopefully by then more on the NICTOGLOBE website!

Friendly Video Graffiti @ Argos vzw Centre for Art and Media

2010-11-13T08:14:00.000-08:00

In a long travelling the Friendly Video Graffiti Project tracks the in- and exclusion mechanisms in international art venues. At the end the camera slowly swerves out to a frontal image of the entrance/exit of the venues. L.C. von Sukmeister (1981) draws our attention to an inconspicuous, everyday image, which all too often escapes our attention, reconstructing it within his own visual language. The words ‘tampering’, ‘intervention’, and ‘museum surveillance’ irregularly come to mind, changing places and orientation. They are terms without any connotation, as a part of a spatial analog-digital investigation, of physical space and digital distance, but also of the meaning and structure of the words themselves. It is up to the individual spectator and museum curator to solve and catch this problem produced by the enigmatic artist, in a way which only has meaning to him and him only.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Camera Operator: La Cheetah
Set Designer: Peter D.
Downsbrough: Pass-ING Peter (2002)
Costume Designer: Billtornade Paris
Location: Argos zvw Centre for Art and Media
Location Details: Werfstraat 13, 13 Rue du Chantier // Brussels 1000, Belgium
Date: 10 November 2010
Script: Argo Wilis, Walking the Videoland
Series: Friendly Video Graffiti Project 2010
Part XI: Brussels
Spaces Part XI: Argos zvw Centre for Art and Media
FUCK SEX ! LOVE ART
WAHYU!

Art McEwen & The Adam of Bomb Paintings

2010-10-30T16:55:00.000-07:00

For L.C. von Sukmeister indeed, the visitor is a central figure. In this respect he is one of a recent generation of artists to have taken the question of the viewer or visitor or interventionist seriously.

“I often sum up my work with the questions: Why do we make works of art? What needs do they meet? What do they do to the way I see the world? And so on. These are very straightforward questions, without a definite answer, which give me the energy to do things and the pleasure I take in that.”

For all that, the form of question is crucial for LCVS.

“It is not iconoclastic, it is work that reflects on how one achieves verbal and pictural form. Above all, the form of the video, which is my favoured medium. Forms are important, they are the way-marks on our journeys.”

Credits:Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Camera Operator: La Centralité
Set Designer: Martin K. & A. McEwen
Memorial Of The: Good Old Time (1987)
Martin: K.
Location: Palais de Tokyo, Paris
Location Details: 13 Avenue du Président Wilson, 75116 Paris, France
Date: 21 October 2010
Script: Saâdane A., Centre P.
Script Assistant: S. Afif
Series: Friendly Video Graffiti Project 2010
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ Künstlerhaus Wien Re-visited

2010-10-30T16:07:00.000-07:00

In 1963 Allan Kaprow used his credo each day things will change to invite the audience to arrange and re-arrange video work in renowned international museum spaces. Kaprow his concept of mobility and mobilization is the outset for the Friendly Video Graffiti Project of L.C. von Sukmeister, which will be continuing in the form of interlocking sequences. By allowing his Friendly Video Graffiti to simultaneously function as guerilla art interventions and recorded live-performances, the formats of presentation and the continuously changing reception thereof remain in a state of reciprocal influence.

Credits:Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Set Designer: J. Gasteiger
Push: and Pull
Jakob: G.
Tanzquartier: Wien
Location: Künstlerhaus Wien, Vienna
Location Details: Karlsplatz 5, 1010 Vienna, Austria
Date: 19 October 2010
Script: Push and Pull, MUMOK
Series: Friendly Video Graffiti Project 2010
Part X: Vienna Re-visited
Spaces Part X: Künstlerhaus Wien, Gabriele Senn Galerie, Freiraum Quartier21 International
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ Freiraum Quartier21 International

2010-10-30T15:54:00.000-07:00

Through minimal video interventions in visual systems, L.C. von Sukmeister brings about irritations and aberrations from the norm, thus also provoking a process of adjustment in the observer his own identity and that of the surveillance camera and museum guard. For these shifts, LCVS has chosen the motif of the Friendly Video Graffiti tag ©. He has resorted to just such a guerilla art intervention to contemplate the video work as classification system that resists, by introducing optical paradoxes, a clear definition.

Credits:Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Set Designer: La Coco
The Art: Of Design
Eintritt: Frei
Tereza K: E. Stocker
Location: Freiraum Quartier21 International, Vienna
Location Details: Museumsplatz 1, 1070 Vienna, Austria
Date: 18 October 2010
Script: T. Kotyk, The Art of Video War, ak7- Contemporary Design by Contemporary Artists
Series: Friendly Video Graffiti Project 2010
Part X: Vienna Re-visited
Spaces Part X: Künstlerhaus Wien, Gabriele Senn Galerie, Freiraum Quartier21 International
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ Gabriele Senn Galerie

2010-10-30T15:29:00.000-07:00

Gabriele Senn Galerie is showing the work Friendly Video Graffiti @ Gabriele Senn Galerie (2010) as part of the Friendly Video Graffiti Project created since 2009, the year that L.C. von Sukmeister realized this project to date. Since then, his work has moved primarily in the media of video art and guerilla art intervention throughout renowned and lesser known art venues, such as, Outlet//Independent Art Space (Istanbul), Chelsea College of Art & Design University of the Arts London (London), Whitechapel Art Gallery (London), Parasol Unit Foundation for Contemporary Art (London), Galerie ArtPoint / KulturKontakt (Vienna), MUMOK (Vienna), Georg Kolbe Museum (Berlin), Neues Problem (Berlin), Galerie Schuster (Berlin), Tanas (Berlin), Museum für Gegenwartskunst (Basel), Kunsthalle Basel (Basel), Shedhalle (Zurich), Les Complices (Zurich), Galeria Estrany de la Mota (Barcelona), Cemeti Art House (Yogyakarta), Kunstnernes Hus (Oslo), and Museet for Samtidskunst (Oslo).

Credits:Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Untitled: Concrete
Set Designer: M. Lulić
Location: Gabriele Senn Galerie, Vienna
Location Details: Schleifmühlgasse 1A, 1040 Vienna, Austria
Date: 19 October 2010
Script: Generali Foundation, Ana T. Album/Tracks FVGP
Series: Friendly Video Graffiti Project 2010
Part X: Vienna Re-visited
Spaces Part X: Künstlerhaus Wien, Gabriele Senn Galerie, Freiraum Quartier21 International
FUCK SEX ! LOVE ART
WAHYU!

FUCK SEX ! LOVE ART

2010-10-08T09:44:00.000-07:00

Indonesian-born L.C. von Sukmeister his intervention art molded into the video piece FUCK SEX ! LOVE ART concerns how we humans relate to ourselves and our own artistic potentiality. The artist LCVS urges humankind to take art into consideration to a greater extent, to learn enough to understand what things mean to people in the world. Perhaps, art critics are too uncivilized to fathom such meaning, but this does not preclude that people having less knowledge of art do not understand the significant of artistic words.

Credits:
Art Director: ASW
Cinematographer: Lace Coco
Associate Producer: Leopold Chrétien
Museet: Rogaland Art Museum
Set Designer: LCVS
Prop: Lego
Intervention: Art
Location: Rogaland Art Museum, Stavanger, Norway
Location Details: Henrik Ibsens gate 55, 4021 Stavanger, Norge‎
Sound Editor: C. Parker, Chomskian Abstract (2007)
Date: 1 October 2010
Script: Re-Think
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ Kunstnernes Hus

2010-10-08T09:43:00.001-07:00

Hence the Friendly Video Graffiti Project is located within the broad parameters of life and death, of time, becoming, and eternity. It became necessary because the individual video work installed by a curator in the white cube was fated to die, and in order that it might in a sense escape erasure. To be sure, these philosophical speculations are not immediately present in reflection regarding the use of Friendly Video Graffiti. But notice the solemnity with which L.C. von Sukmeister refers to this practice in the “persuasive” legislation ―laws that must be of first importance since they were to be “the first laid down in every city”― that he proposes concerning video work: “An artist is to appropriate video art after he reaches the age of 25 and before he reaches his final chapter, bearing in mind that there is a sense in which intervention art has by a certain nature a share in immortality, and that it is the nature of every video work to desire immortality in every way on the internet.

Credits:
Art Director: ASW
Cinematographer: Leather Cranky
Associate Producer: Leopold Chrétien
Museet: Mu see it!
Set Designer: Unknown
Prop: Unknown
Location: Kunstnernes Hus Oslo
Location Details: Wergelandsveien 17, 0167 Oslo, Norway
Date: 30 September 2010
Script: Michel F.
Series: Friendly Video Graffiti Project 2010
Part IX: Oslo
Spaces Part IX: Museet for Samtidskunst, Museum of Contemporary Art, Kunstnernes Hus Oslo
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ Museet for Samtidskunst

2010-10-08T09:39:00.000-07:00

L.C. von Sukmeister is one of the rising stars in the international art world and the far most independent and autonomous artist of the current moment, detached from strategic shark gallery policies or public museum tactics. In this new episode of the Friendly Video Graffiti Project, LCVS has been reluctant to alter the polemical character of the video, a product of its time. However, artists’ statements should at best be treated with caution, for artists are not always honest (indeed, they often have an interest in lying), and, even when they are, they are not necessarily those who have the greatest understanding of what they are doing.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
Museet: Mu see it!
Set Designer: J. Laker
No.17: 1997, 11 min.
Location: Museet for Samtidskunst, Museum of Contemporary Art, Oslo
Location Details: Bankplassen 4, 0151 Oslo, Norway
Date: 2 October 2010
Script: J. Stallabrass, High Video Lite
Series: Friendly Video Graffiti Project 2010
Part IX: Oslo
Spaces Part IX: Museet for Samtidskunst, Museum of Contemporary Art, Kunstnernes Hus Oslo
FUCK SEX ! LOVE ART
WAHYU!

CONCEPT XIII (2009)

2010-09-06T03:59:00.000-07:00

I. Type of work

Installation / Performance

II. Author(s)

Name L.C. von Sukmeister (pseudonym of R.S. de Boer)

Address De Boelelaan 1105, room 9A-42 (St. Annastraat 129, k 8)

City Amsterdam (Nijmegen)

Zip / Postal code 1081 HV (6524 EN)

Country Arcadia (The Netherlands)

Telephone/mobile +31 x xxxxx

E-mail lc.vonsukmeister@gmail.com / xxxx.vu.nl

Nationality Arcadian (Dutch)

III. Specifications (obligatory)

Please provide the following info:

 Project description (max. 1000 words). SEE PROJECT DESCRIPTION

 Funding received until now and funding still needed. UNTIL NOW, NO FUNDING RECEIVED AND STILL FULL FUNDING NEEDED

 Important issues for the project in terms of collaboration. WEBSITE CONSTRUCTOR NEEDED / AND A LOT OF ENTHUSIASTIC PARTICIPANTZ

 Explain what is still needed to be realized. NEEDED: CONSTRUCTION OF AN OPEN SOURCE WEBSITE ON WHICH PEOPLE CAN FREELY LEAVE COMMENTS AND WITH AN ACCOUNT ALSO CAN UPLOAD MOVIES / PHOTOGRAPHS / SOUND RECORDINGS ETC.

 Time-frame in terms of research and production. HARDWARE CONSTRUCTION-WATER TANK/AQUARIUM + VIDEO CAMERA INSTALLATION: 1 ½ WEEK / SOFTWARE WEBSITE CONSTRUCTION: 1 ½ WEEK / PERFORMANCE: ENDLESS TIME-SPAN, AS LONG AS ART FCUKERZ WANT TO PARTICIPATE

 A short CV of the author(s) and links to their practice. SEE CV L.C. / RS

IV. Additional material (not obligatory)
 Photo, image, graphic or drawing. SEE PROJECT DESCRIPTION
III. Specifications
PROJECT DESCRIPTION - CONCEPT XIII auprrud – L.C. VON SUKMEISTER

The installation / performance contains:

- Open water tank of approx. L 150cm x W 75cm x H 75cm / or just any ordinary aquarium of considerable size filled with water
- Video camera which is constantly supervising the water tank/aquarium
- Participants who appropriate existing art with digital gadgets and upload them on social network sites and refer to website Concept XIII
- Website Concept XIII as open source and constitutional machinery of control on which participants can post comments, but more importantly, can upload photographs, videos and sound recordings of appropriated works of art

In order to put the installation in motion, the following steps of performance are to be taken by the participant who has to:

1. Appropriate an existing work of art*, by using a digital gadget such as digital camera, cell phone, voice recorder, video camera, laptop etc. to record the work of art, while simultaneously delineating its own reinterpretation of this digitally captured moment of the appropriated art’s real time. Or to put it differently: to his own understanding of artistry, the participant just has to make a unique movie clip, sound recording or photograph of an existing work of art.
2. Upload the digitally appropriated image from the gadget onto (one of the, or multiple) social network sites such as youtube, vimeo, blogs, twitter, hyves, facebook, orkut, myspace, naymz, plaxo, dailymotion, and linkedin.
3. Present the digitally appropriated image on these above mentioned sites as new work of art by referring to the link of website Concept XIII and giving it a name and a date.
4. Register for website Concept XIII by making a temporary account and referring to the specific social network site at which the digitally appropriated art is exhibited.
5. Upload the digitally appropriated image once more, but this time on website Concept XIII and for instance also write a comment with reference to the specific social network site at which the appropriated art is exhibited.
6. Dump the gadget which is used to appropriate a work of art into the water of the water tank/aquarium.

The installation / performance comes into existence and keeps evolving by virtue of:

1. the water tank/aquarium being constantly monitored by the video camera and getting stuffed with gadgets which are situated in the water and contain images of appropriated art
2. the online website Concept XIII showing a permanent view from the video camera pointed at the water tank/aquarium
3. the online website Concept XIII being sprinkled with videos, photographs, sound bites etc. of appropriated art, and comments by its visitors
4. the internet in general becoming a museum for scattered art appropriation works, but when no reference is made to the website Concept XIII, the internet will subsequently turn into a scrap heap of more indefinable images.

The installation / performance will be monitored by the following proceedings:

5. each new dumping of a gadget containing the images of appropriated art into the water of the water tank/aquarium must first be preceded by the upload of these images on the website Concept XIII.
6. the website Concept XIII is open to all comments by its visitors, but a participant can only upload a video, photograph etc. on this site when one is registered with a temporary account that gives permission for one upload at a time.
7. to register for the temporary account the participant has to refer, by means of a link, to the specific social network site at which the digitally appropriated art is earlier uploaded and exhibited.
8. the account for the website Concept XIII will only be activated when a link is placed with reference to a social network site.
9. with each new upload on website Concept XIII, its account manager (the artistic conceptualist himself) will automatically be notified of the upload with the link.
10. by clicking on the link, the account manager can check if at this specific social network site a reference is made to website Concept XIII.
11. in the case when no reference is made, he can remove the recently uploaded image from the website Concept XIII.
12. but otherwise, when a reference is made, the digitally appropriated image uploaded on the social network site is now to be officially authorized as new work of art, provided that the gadget will be dropped into the water of course.

Eventually when the first water tank/aquarium over time gets overloaded with gadgets, just a second water tank could be installed, and then a third, fourth etc.

When in the course of the years multiple water tanks are filled with gadgets which are dumped into the water, the water tanks can be formed into, for instance, letters, words, signs, forms etc.

One of the ideal places for the installation / performance to be situated is during a big art event such as a biennale, arts festival, art fair, etc. because the density of people and works of art at those places form the excellent conditions for appropriating art with digital gadgets.

*note

1. the to be appropriated art could be any art ―video, performance, installation, photograph, painting, sculpture etc. and the appropriation can be carried out to the participant’s own understanding of artistry, with other words, he’s totally free in the manner of appropriation. examples of delineating the appropriation in one’s own way can be found by observing the art videos of L.C. von Sukmeister on vimeo and youtube.

III. Specifications
Curriculum Vitae – L.C. VON SUKMEISTER / R.S. DE BOER

Artist Statement (March 11, 2009)
L.C. von Sukmeister
L.C. von Sukmeister Esq. MA (born 1981) is a para-performative artist-historian who invents artistic concepts for installation art, performance art and video art. Since 2005 he has produced 74 artistic concepts which are written down on paper and are often accompanied by a sketch. The artistic concepts are furthermore dated, numbered and finally documented as paper file and digital file. A great deal of his artistic concepts is relatively very expensive to carry out, so at the moment few have really come into existence.
For SMart Multimedia Arts Festival in Grand Rapids (MI) USA (1-7 April 2009), Von Sukmeister made the installation wiki art project (2009). This work has been exhibited (*1) in Schuler Books and Music as part of the Experimental Narratives (1-7 April, 2009).
The artistic concept OPERATION SILVER FLOWER. OR HOW TO BURN SWISS MONEY (2009) featuring Swiss renowned Sylvie Fleury is performed in 17 steps on (youtube & vimeo) video, however, the accompanying photographs and texts have not been displayed yet.
While waiting to finance his artistic concepts, Von Sukmeister also works as an internet artist whose appropriation art videos and its accompanied texts are displayed on the worldwide web as part of his subversive strategy to question traditional modes of both art making as well as art exhibiting. Besides video appropriation on vimeo and youtube, L.C. also uses blogspot and twitter as canvases of his graffiti 2.0 activities, thus occupying the internet as public space for artistic practices.
Three of his art videos are exhibited on the website of Dutch broadcaster AVRO's Rough cut competition 2009.
The highly controversial adagium under which Von Sukmeister operates in his art 2.0 projects is ''FUCK SEX ! LOVE ART''.

Professional Training
Leopold Chrétien (Suki) von Sukmeister is the pseudonym of R.S. de Boer. Since April 2008 he works as a PhD Candidate Contemporary Art History at VU University Amsterdam (promoter prof.dr.ir. W. Davidts, co-promotor dr. J. Jobse). In 2006 he obtained his Master of Arts degree in the Art History of the post-war era from Radboud University Nijmegen.
Because R.S. de Boer operates as artist with alter ego L.C. von Sukmeister, he could be considered as a para-performative artist-historian.

Video work
L.C. von Sukmeister not only appropriates images of existing works of renowned artists which are mainly displayed in museum spaces, but also mixes them with intellectual, often art historical or theoretical writings on art. These newly produced works of art which have been shaped by the double appropriated material (text and image) are subsequently exposed on video-centric social network sites such as vimeo and youtube (and sometimes doubled on blogspot too).
In this respect, he thus tries 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 physicality of the institutionalized context (the space of art exhibition).
An example of this radical practice is his collaboration with Swiss artist Sylvie Fleury in the work Step. 15 Bend it Like Beckham (2008) filmed at the MAMCO in Geneva (Switzerland) and displayed on youtube and vimeo. In this work he captures a part of MAMCO’s site-specific museum space decorated by Fleury and elevates it through internet to a higher degree of accessibility that simultaneously enables as many potential observers worldwide to be in that same room. Furthermore, on his blogspot he doubles the video again; asking the question ‘what constitutes the original and how is it to be interpreted?’ ―as the initial video which is eventually appropriated, or as the new appropriation video which is documented as a file on his private pc, or as the publicly exhibited and uploaded video on youtube, vimeo or blogspot?
One of the challenges of art historian R.S. de Boer is to seek whether his role-playing as artist L.C. von Sukmeister in the public realm ―such as in publications (*2) for art historical magazines, or in his art videos on the internet― could put in question the traditional separated roles in the art world such as artist, art historian, art critic, art journalist, gallery owner, curator etc. He is thus balancing on the fine edge of self-support and self-creation.

As Para-Performative Artist-Historian LCVS Featured in
Daily newspaper nrc•next: Karin Quint (2009). 'Zij proberen zo ergens binnen te komen.’ nrc•next, Wednesday, February 25, 2009, pp. 22-23

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

‘Think Ahead! Open Platform' Award Competition by Netherlands Media Art Institute (NIMk), Amsterdam, 9 May 2009, with Concept XIII (concept for installation) by LCVS

SMart Multimedia Arts Festival, Grand Rapids (MI), 1-7 April 2009, with wiki art project (installation, 22 framed screen prints A4-size, table with notebook/desk top connected to internet, A4-size framed list of websites regarding work by L.C. von Sukmeister) by LCVS

LCVS appeared in Publications
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

hi ms. Schofield

2010-08-03T15:14:00.000-07:00

Hi there dear Grace! By the way love the name!

Yes it was me, that dirty rotten scoundrel LCVS, who took your precious disk out and baby, I didn’t even steal that million dollar movie you shot!

Please, if I knew it would nearly tipped you over the edge, suicide amongst young artists is very common in London (?), I would steal it, I mean I wouldn’t temper with that stuff. We’re all human beings right? Let’s behave as such meow.

Okay, by now I guess you already are in the lucky position to have that BA from Chelsea College of Art and Design, to this day I am still far less, yes far less, qualified than you.. unfortunately I didn’t go to art school at all because the doctor was saying I am totally insane and my mom and dad are too rich as well, besides I am not a gay person but I do like wearing 10 inch high heels! Happy for you. So Allah I beg you not to organize this stone throwing at my video art in Teheran, by the way did you move my DVD in your trash can or keep it at a place where the sun does not shine >referring to your armpits
Yes indeed, your £30,000 tuition fee is paid by you, of course, I am too poor to pay for my rent and for your tuition fee as well, please don’t feel offended and eternal grateful, I am just your ordinary artist in the margins of life. You probably have a bigger stage for your video art than me, so why bother a simple art-errorist like me?

I selected your video, I watched it, thank you, luckily nobody stopped me from watching your video art, and actually did you watch mine?

I never studied at Chelsea College of Art and Design, they despise my Friendly Video Graffiti Project just like you despise it, and Parasol Unit in London does, and Architekturzentrum Wien in Vienna does, and much more idle self-satisfied posh and funky cultural institutes for the arts do. Yes, you may have fantastic tutors, but my dentist said to me “I just love that roll-a-tex jive you show in your paintings”, well, I think he thought I was Peter Halley while I wasn’t even wearing my Burberry trenchcoat with the index magazine as accessory at that particular moment! Do you think based on what you saw of my annoying art project that Chelsea College of Art and Design would let me enroll in their classes? Could you be my tutor? Can I borrow your books? Please.

Can I ask you, did you notice that your replaced DVD is amongst other famous art videos by renowned international artists such as Vlad Nancă, Joseph Hallelujah Beuys, Valie Export, Nezaket Ekici, William Kentridge, Hermann Nitsch, Anna Jermolaewa, Elmgreen & Dragset, Jacques van der Watt & Daniça Lepen, Chus López Vidal, Oda Projesi & Nadin Reschke, Lisi Raskin & Shahab Fotouhi, Bruce Nauman, Liliana Porter, Yan Duyvendak, Sven Augustijnen, Barbara Visser, Uriel Orlow, Köken Ergun, Zeina Maasri, Dani Gal, and last but not least let’s not forget good ‘ol Doger Panorsa?

Let’s meet, join forces and make a new art project on tape for the people out there, I’d love to do that, you as well? London Calling!

And you know what, I am quite pretty though for a light brown artist..

LCVS

alias L.C von Sukmeister
10.08.03

Its taken me a year...

2010-08-03T15:12:00.000-07:00

Hi there.

a year ago you walked into my space in Chelsea College of Art and Design, took out my disks and replaced them with your own. My degree show was exhausting for me, this action bloody nearly tipped me over the edge, at the time i felt completely attacked and appalled and i didn't understand! I have only just remembered after meeting up with an old friend last night who reminded me so i looked up the video on youtube again. As someone who has been interested in graffiti in the past i can understand your work i see your harmless, surprising and rather clever was of altering what is already there in the way that the institute or museum has completely allowed you to so why not! My god wouldn't you be stupid not to? its irresistible! surely! But why then would you do it to someone graduating from their BA?! At that point i was less qualified than you were?

Its like i can see how stealing from tesco doesnt really matter- in fact it is a good thing , fuck them, but stealing from your corner shop//// doesn't it feel a bit mean? especially when i will be paying back the £30,000 pounds odd of tuition fees for the foreseeable future every second of that exhibition was so precious to me!!!

I am just so so so so so glad that you left the disks there and didn't take them i nearly died of fear when i thought they had been stolen!!!! although i still dont think you should have been tampering with my work i am eternally grateful that you left them there.

I suppose part of me was interested that i had been selected, but that is because of the equipment i had rented nothing more, it wasn't a comment on my work, you probably didn't even stick around long enough to watch it!!! i just provided a vehicle for you. I get annoyed that you use the name 'Chelsea College Of Art and Design' as though you were proud to have broken in there as its a name?? But you are nothing to do with it!! You have never studied there, you don't know our fantastic tutors the incredible artists on our course and you shouldn't have been in our college fucking about so how dare you use the name as an accolade to add to your list!

I'd be interested to hear your opinion on how i felt, a year down the line it doesn't really bother me anymore, its just a vaguely amusing story to tell, but yeah i looked up your blog and you had letters from the parasol unit and from a critic and i wanted to hear from you yourself please.

Grace Schofield
10.07.19

Friendly Video Graffiti @ Cemeti Art House

2010-07-22T05:00:00.000-07:00

In its bid to seek and develop discourse, Friendly Video Graffiti not only operates as a platform for the latest developments of art controversy, but connects artists with other professionals and work relative to specific communities (for example the inner crowd art fcukers). L.C. von Sukmeister will get directly confronted with the life and art scene in Yogyakarta and the Indonesian artist (?) gets to know the art situation and developments in Europe (?). During. Until. Works. Around certain. Which they. And the.

Credits:
Art Director: ASW
Cinematographer: Lukisan Crazy
Associate Producer: Leopold Chrétien
House: Rumah Seni Cemeti
+ Road: - Art
Set Designer: D. Panorsa
Doger: Informadreams (2010)
Location: Cemeti Art House
Location Details: Jl. D.I. Panjaitan 41, Yogyakarta 55143, Indonesia
Date: 29 June 2010
Script: + Road
Series: Friendly Video Graffiti Project 2010
Part VIII Original: Milano
Part VIII: Yogyakarta
Spaces Part VIII: Cemeti Art House, Rumah Seni Cemeti
FUCK SEX ! LOVE ART
WAHYU!

LCVS @ nrc website on FVGP versus Parasol Unit

2010-05-16T04:16:00.000-07:00

Scott Kildall on FVGP versus Parasol Unit II

2010-05-16T03:48:00.001-07:00

Stefano Mirti on FVGP versus Parasol Unit

2010-05-15T04:21:00.001-07:00

Scott Kildall on FVGP versus Parasol Unit

2010-05-14T09:46:00.001-07:00

FVGP versus Parasol Unit part III

2010-05-14T06:06:00.001-07:00

Dear Parasol Unit,

I have informed the artist of your reaction. I wonder what is wrong, since your opinion is that FVGP is an extremely disrespectful action, an act of little more than vandalism. Okay, fair enough, everybody can have an opinion about art. But that is just an opinion on your behalf, what is the opinion of the appropriate artist himself?

And could the fact that your opinion of finding it disrespectful then be a legitimate claim to remove the artwork? In turn the artist responds that he says he could find it also extremely disrespectful of Parasol Unit that they want his work to be removed because then you are also discounting the weeks, if not months of preparation in advance, of hard work on his side.

Besides, by the time you found the FVGP you probably changed the video immediately, so what harm did the artist do else in Parasol Unit? He stresses that his FVGP is not vandalism since he did not steal nor break nor ruin and neither confiscate anything that belongs to the artist or to Parasol Unit. He says he only used the digital space as one could use the floor of Parasol Unit to walk on, or the bathroom to piss in. He says he saw when entering Parasol Unit no signs nor read any regulations which prohibited artists of using the exhibition venue as artistic space. He continues in saying that how could he then know you find such an artistic intervention disrespectful and vandalizing?

Are your considerations as art institution have more weight than that of an artist? Is the specific idea of a curator to be valued as more than an artist's idea? Then what claim you can make on having responsibility to artists, to art in general? He says, maybe you can also turn this idea the other way: the artist having responsibility to make the art institution to be fully comprehended in its seemingly disguised power/knowledge structures.

The artist asks why you are not okay with the situation now in which you probably already removed the FVGP out of your palpable exhibition space and why you just don't let the FVGP to live on in a digital space which is not yours after all?

Actually you are now forcing the artist LCVS to do what you rather won't see happening to the artists you exhibit: removal. Isn't that remarkable?

You are claiming you have the responsibility to the artists, lenders, and public to showcase and handle the artworks in a safe and dignified manner. The artist LCVS is claiming he has the responsibility to the public, art institutions and other artists to make works of art which critically questions certains values and rules in society, especially those of the art world.

The artist says he hopes you will come with better theoretical arguments than merely calling his Friendly Video Graffiti Project vandalizing and extremely disrespectful.

Kind regards,

R.S. (Ronald) de Boer MA
PhD Candidate Department of Art History
Faculty of Arts | VU University Amsterdam
Room 9A-42 | De Boelelaan 1105 | 1081 HV Amsterdam The Netherlands |  +31 (0)20 598 63 74| rs.de.boer@let.vu.nl | rsdeboer@gmail.com

FVGP versus Parasol Unit part II

2010-05-14T06:05:00.000-07:00

Dear R.S. de Boer,

Thank you for your email and considered reply to my request. I appreciate you taking the time to get back to me.
Whilst I find your theories and explanations for Friendly Video Graffiti Project’s work to be of interest, that does not change the fact that I would still like the video to be removed. I sympathise with the fact that to some artists finding a way to exhibit in galleries such as Parasol unit must seem insurmountable, but I still find it extremely disrespectful that he counters this by simply removing artists’ work and replacing it with his own. To my mind, here he is discounting all of the months of hard work that an organisation goes into to create an exhibition, discussing work with an artist, shipping the works, building the installations; we do this with a specific idea in mind that comes from a curator who has planned the exhibition for months if not years in advance. Friendly Video Graffiti Project’s response to this is little more than vandalism. There is always going to be a dichotomy between the ‘free spirited’ creation of art and the ‘hermetically sealed, surveilled and protected’ ways in which they are exhibited, but this is because we have a responsibility to the artists, the lenders and the public to showcase and handle the artworks in a safe and dignified manner.
With this in mind I hope you will now remove the video.
Kind regards,
Asha

Asha Burchett
PR-Communications
Parasol unit foundation for contemporary art
14 Wharf Road, London, N1 7RW
Tel: +44 (0) 20 7490 7373
Fax: +44 (0) 20 7490 7775
asha@parasol-unit.org

FVGP versus Parasol Unit part I

2010-05-14T03:41:00.000-07:00

Dear Parasol Unit,

On behalf of the artist LCVS I am responding to your message you sent the artist via youtube regarding the work named Friendly Video Graffiti @ Parasol Unit (2009).

My name is Ronald S. de Boer and I am art historian by profession. I am in function as PhD Candidate of Contemporary Art History in the Faculty of Arts at the VU University Amsterdam. At the moment I am preparing an essay on digital arts and the public space. It is in this very context that I came across the Friendly Video Graffiti Project (FVGP) of artist L.C. von Sukmeister, also known as LCVS.

He asked me, as art historian who is keeping up with his interesting project, to respond on his behalf to art institutions which have complaints about the work and are not yet familiar with his FVGP. His main reasons for not responding in own person is firstly that he feels he is not being taken seriously by them as an artist. Secondly, in case of the possible conflicts his FVGP causes, he aims to secure the independent status of his project, which above all is an intervention into the socially accepted and by the art world credited art institutions.

On the other side, when having contact with artists who’s art videos he replaces ―or in his vocabulary tags, he directly responds to artists himself. Because he feels much more comfortable and safe while having a certain kind of relationship with them as artist to artist. As part of the meta-discourse regarding his FVGP, both the correspondences with artists of who’s work has been tagged are included in his FVGP, as well as the communications which deal with the reactions of art institutions on his project in the form of screen prints.

Regarding Friendly Video Graffiti @ Parasol Unit (2009), it is quite remarkable that almost a year later Parasol Unit is responding to this work of art. Since June 2009, the artist LCVS has been carrying out his ongoing FVGP at several renowned and also lesser known art venues, such as, MUMOK in Vienna, 11th Istanbul Biennial in 2009, Hamburger Bahnhof in Berlin, Les Complices in Zurich, Whitechapel Gallery in London, Galeria d’Art Estrany de la Mota in Barcelona, Museum für Gegenwartskunst in Basel, Chelsea College of Art and Design in London, and many more.

What is his Friendly Video Graffiti Project all about? According to the artist, in short the goal of the FVGP is tripartite. On the one hand he aims to investigate the institutional processes which a relatively unknown and practically autodidact artist has to undergo before he reaches certified acceptance by the professional art world. On the other hand LCVS attempts to question also the fortress-like anxieties of art institutions which supposedly show work by free-minded spirits, whereas the exhibition spaces are hermetically sealed, surveilled and protected as in a police state dominated terrain. And thirdly, following the artist’s statements, he also examines the role of video art in a digitalized 2.0 society by finding new ways to overcome dichotomies between digital and analogue, material and virtual, and between private and public. Observing his FVGP in this respect, he desires to work in the tradition of institution critical artists, who intervene in a public space which often is specially designed to facilitate art, like for example Andrea Fraser, Hans Haacke, Guerilla Girls, Banksy, and the Stuckists. Moreover, LCVS also adds a layer of virtual reality to his intervention art practices by exhibiting his work in the assumedly democratic virtual space of the internet.

Therefore, I would suggest it is not so much about calling it a ‘tampering’ action of a member of the public, rather it could be seen as a specific artistic intervention by an artist who is questioning this very notion of the democratic ideal of a public who is held to be critically participating in society. Is the reaction of Parasol Unit to the FVGP work bringing to the light the conceitedness of the socio-cultural establishment as recently Gordon Brown’s Bigotgate in Great Britain also has shown in a political context? In my opinion, by ignoring the fact that FVP is a work of art, it seems that Parasol Unit is not willing to accept (artistically made) comments by an active member of the public, precisely this very public who the institution aims to serve and to steer towards critical thinking. To this end, one could question whether Parasol Unit is presenting art for the public or before the public? What should be the role of the art institution in the 21st digitalized ‘democratic’ society?

In comparison with Parasol Unit a lot of other art institutions, as well as artists and art critics have responded positively to the FVGP. For example, American artist Scot Kildall who along with Nathaniel Stern intervened on the internet and sparked controversy with his Wikipedia Art (2009), which later was exhibited at the Internet Pavillion of the Venice Biennial in 2009, is supporting LCVS’s intervention practices of his FVGP. Furthermore, the upcoming German artist Christina Maria Pfeifer set up a dialogue between her and LCVS about his FVGP, which explains a lot more about the project and can be seen on her personal website. Scholars such as Italian dr. Stefano Mirti of NABA Design School in Milan and drs. Rudie van Leeuwen a researcher at Radboud University Nijmegen in the Netherlands have given their intellectual understanding and support to the FVGP.

Not at least to mention the reaction of artist Vlad Nancă, who’s video was tagged by LCVS in the exhibition space of MOYA in Vienna. Regarding the process in which the video of another artist becomes a host space for other art, Parasol Unit is speaking of an insult to the artist, whereas I wonder what the reaction might be of the appropriate artist. Because in the case of Friendly Video Graffiti @ MOYA (2009) Nancă did not feel he was being insulted, on the contrary, the artist responded with the words: ‘Congratulations for your project. It's really interesting and I appreciate your “guerilla' initiative”. Good luck with it all!’ This positive reaction of Nancă is now also a part of the meta-discourse concerning the FVGP as can be seen in the e-mail attachments below. Besides, LCVS claims in the dialogue with Christina Maria Pfeifer that he often admires the videos he tags by saying: ‘Actually, there were some nice videoworks which have been tagged over by my video graffiti, for example work by William Kentrdige and Yan Duyvendak. As part of the respect I want to tribute to the artists, I always try to have a sort of dialogue with the video art which I change for my video graffiti. It’s the least I can do for the artist and his or her work.‘

Next, also the supposedly be duped or perhaps ‘tampered with’ institutions as KulturKontakt Austria in Vienna and Kurye Video Organization from Turkey did not criticize the FVGP. Conversely , they embraced the project and linked it onto their own digital art spaces as can be seen in the attachments of this e-mail. Moreover, the art space Stichting Sign in Groningen the Netherlands is considering an exhibition of the Friendly Video Graffiti Project.

Furthermore I would like to point to the various venues in which the artist LCVS already featured with other digital projects in the public space. He was interviewed in the Dutch daily newspaper nrc•next of Wednesday, February 25, 2009, pp. 22-23.

Karin Quint. 'Zij proberen zo ergens binnen te komen.’ nrc•next, Wednesday, February 25, 2009, pp. 22-23.

He appeared at the Think Ahead Open Platform competition of The Netherlands Media Art Institute (NIMk) in Amsterdam with his CONCEPT XIII for an on-line media platform for art appropiation works. His work Banned Wikipedia Art Attempts to Intervene with Banned Airlines into Art Venues in Vienna (2009) was exhibited in the The WikipediaArt Embassy hosted by Scott Kildall and Nathaniel Stern at the Internet Pavillion of the Venice Biennial in 2009 curated by Miltos Manetas. The artistic practices of LCVS are for example also referred to in the 2009 publication ‘...les boys got leather straps les boys got SS caps...’ by dr. Stefano Mirti and myself in the book Fetisch + Konsum (eds. Jean-Baptiste Joly, Catherine Perret, Julia Warmers), by Akademie Schloss Solitude Stuttgart.

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 2009, pp. 221-241. ISBN 978-3-937982-24-3

Given all this information on the artist LCVS and his FVGP, I would like to ask you kindly to reconsider your statement and opinion about LCVS’s FVGP again, and to try to understand the artist’s intentions. In my viewpoint it is not helping both Parasol Unit, as well as the artist, to remove the work, since I hope to have made clear that the Friendly Video Graffiti Project is a non-violent, critical and above all friendly piece of art.

If you want to communicate further on the FVGP and my planned forthcoming article on digital arts and the public space, please don’t hesitate to contact me. I also would like to point to the newslog of artist Christina Maria Pfeifer on the FVGP, on this abovementioned site you might have a chance to discuss your concerns about the project with the artist in person, since LCVS finds himself quite comfortable there as it is a virtual space hosted by an independent artist and not an institution.
In advance of any misunderstanding in communication, I will be out of office by the 21st of May till the 21st of July.

Thank you for your reconsiderations,

Kind regards,

R.S. (Ronald) de Boer MA
PhD Candidate Department of Art History
Faculty of Arts | VU University Amsterdam
Room 9A-42 | De Boelelaan 1105 | 1081 HV Amsterdam The Netherlands | ( +31 (0)20 598 63 74| * rs.de.boer@let.vu.nl | rsdeboer@gmail.com

Dick & Jane in Japan ― Flemish Flamenco Style

2010-03-07T14:46:00.000-08:00

Starting from pre-existing images of artworks, L.C. von Sukmeister videotags images of video art, voodeo arrt, art historical works and industrial objects alike. Of compelling simplicity, and activating multiple readings, L.C. von Sukmeister his work defies classification. As Jochen Moerman-Lempluc pointed out: “Far from being mere video works, Con Sukmaestro his video art is evidence of an artistic sensibility compelled to wrest order from circumstance, and, through the tight control of progression, variation, focus, scale, and exposure, to make of this order some enchanting clitty.”

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: J.L. Moerman
Sound Editor: P. de Moermía
Try Different: Videos
Location: ADN Galeria
Location Details: Carrer Enric Granados 49, 08007 Barcelona, Spain
Date: 2 maart 2010
Script: Hybrid Eickels, J. de Lempía, Projectes M.
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ Galeria d’Art Estrany de la Mota

2010-03-07T13:29:00.003-08:00

L.C. von Sukmeister his work is a combination of art, scientific research, documentation, intervention and conceptualism. He intervenes into the natural and artificial art world and its inhabitants and artworks. He searches for the video tag in places where its occurrence is not so well evidenced, recording life in a broad diversity of environments, from art history museums to street life, from remote places to banal objects and situations. He compiles his “artless” colour, hand-developed videoworks in a phenotypical archive of images covering an ample spectrum, from common everyday views, to compositions that tend towards complete abstraction. His interest in videoworks as a medium and new hybrid digital and analog space of art at the same time is further complemented by his exploration of the properties and materiality of the video art medium.. His work defines a unique artistic position, detached from the dominant trends and canons of contemporary video art or art interventions.

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: D. Gal
La Battaglia: 2007
Sound Editor: K. Zdjelar
Everything Is Gonna Be: Allright
Try Different: Videos
Location: Galeria d’Art Estrany de la Mota
Location Details: Passatge Mercader 18, 08008 Barcelona, Spain
Date: 2 maart 2010
Script: Jochen Lempert, Projectes D
Series: Friendly Video Graffiti Project 2010
Part VII: Barcelona
Spaces Part VII: àngels barcelona, Galeria d’Art Estrany de la Mota
FUCK SEX ! LOVE ART
WAHYU!

Friendly Video Graffiti @ àngels barcelona

2010-03-07T13:29:00.001-08:00

Friendly Video Graffiti and its representation ―perhaps we should say that of Intervention― have been central to Asian wayward clouded reflexions and cultural labour. Beyond the clichés, in these cultures, the construction of a human being has been, before anything else, the construction of his inner landscape, and this impulse remains within the gestural dimension of his life, whether a Pencak Silat session, or the execution of brush strokes that will end up representing bambu runcing.

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: Limousin
Landscape: Landscape?
Location: àngels barcelona
Location Details: Carrer Pintor Fortuny 27, 08001 Barcelona, Spain
Date: 2 maart 2010
Script: Landscape. Landscape? Angels barcelona
Series: Friendly Video Graffiti Project 2010
Part VII: Barcelona
Spaces Part VII: àngels barcelona, Galeria d’Art Estrany de la Mota
FUCK SEX ! LOVE ART
WAHYU!

My Personal Best Wishes for 2010

2009-12-20T08:23:00.000-08:00

L.C. von Sukmeister’s Best Wishes Card fulfills a double function based on the following dilemma: how can the x-mas tree in its historical, past shape be captured with the knowledge of its transitory nature and the logic of the newly created space be illustrated, and how can ―which is perhaps more crucial― the emphasis of the event, the emergence of the work, be conveyed? Thus, the filmic cartography of the space, which ensures comprehension of the given project’s tactical accomplishment―punctuated by text inserts in the comments by Raden Wahyono― intersects with fleeting x-mas phenomena, light reflections, dramatic blue screen backgrounds, will-o’-the wisp x-mas tree flashlights, a dancing wayang 2.0 protagonist, and blending effects of the camera lenses, glimmering stardust, the weight of the x-mas tree to be removed, the exertion and minaret applied, and, in the end, the pleasure with the successful result of a personally handmade digitally created Best Wishes 2010 Card.

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: L.C. von Sukmeister
Camera: Le Complice
Associate Producer: Raden Saleh
Special Effects: N. Fernanda
Sound Editor: Nena F. & Monata
X-Mus Music: Bunga
Location: Ste. Anne 129
Date: 20 December 2009
Wayang 2.0
Satu Lagi: Wayang 2.0
Script: D. Leutgeb, G. Matta-Clark & LCVS: Films, Die Moderne als Christmas Card, eine Archäologie der Gegenwart, Generali Foundation, 2009, p 171.
FUCK SEX ! LOVE ART
WAHYU!

Triple Raden Wahyono @ The Betrayal of LCVS

2009-12-05T12:03:00.001-08:00

L.C. von Sukmeister performs operations upon both collage and film in such a way as to produce a physical experience of both these mediums and a keen awareness of the potentialities of these mediums. If collage fixes and documents a specific moment in time in such a way as to prevent if from slipping away, film contrawise, enables the continous evolution of one image into another. While conflating collage and film in a computarised medium ―a single electronic signal that codifies them into information emitted as video― L.C. von Sukmeister affirms that the concepts of collage and of film survive into this digital medium. The loose collage image and the filmic register in real time are constituted as two temporal modalities that join forces. It is in the condensation of the different temporalities into a single medium that Von Sukmeister makes his Wayang 2.0 work.

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: L.C. von Sukmeister
Camera: Le Complice
Associate Producer: Poncke P.
Set Designer: Raden Saleh
Set Assistant: A. Kurniawan
Prop: P. Princen
Special Effects: N. Fernanda
Sound Editor: Nena F.
Music: Bojo Loro
Location: Centraal Museum, Utrecht (The Netherlands)
Location Details: Nicolaaskerkhof 10, 3512 XC Utrecht, The Netherlands
Date: 25 November 2009
Wayang 2.0
Script: Pedro Lapa, Director do Museu Nacional de Arte Contemporânea – Museu do Chiado, D. Claerbout
Series: Beyond Belanda: Seni Kontemporer
FUCK SEX ! LOVE ART
WAHYU!

Lisboa: Ask Me Whyang?

2009-12-05T11:58:00.000-08:00

Kunsthalle Lissabon is proud to present you without even knowing Lisboa: Ask Me Whyang?, a new project by World Stage-based artist L.C. von Sukmeister. The work its title is a reference to the exhibition artist and exhibition assistant position, commonly known as Ask Me. For this work of art at Kunsthalle Lissabon, Von Sukmeister has taken over the exhibition space and artist, becoming completely responsible for its re-contextualization. By simultaneously putting Raden Saleh in the position of both subject and observer, as well as object, and explicitly questioning the distinction between visual artist/dalang 2.0, and visitor of an exhibition space, Von Sukmeister intends to shed some light into the complex relations between notions such as, wayang 2.0, dalang 2.0, artwork, seni rupa, seni collage, seni video, artistic practice, labour and capital.

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: L.C. von Sukmeister
Camera: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: Joana B.
Set Assistant: J. Bastos
Sound Editor: Raden Saleh
Location: Kunsthalle Lissabon, Lisbon (Portugal)
Location Details: Rua Rosa Araújo 7-9, 1250-194 Lisboa - Portugal
Date: 20 November 2009
Wayang 2.0
Script: J. Bastos, Ask Me, Kunsthalle Lissabon 2009
Series: Beyond Belanda: Seni Kontemporer
FUCK SEX ! LOVE ART
WAHYU!

McPloyee of the Mayang @ Surakarta

2009-12-05T11:46:00.000-08:00

L.C. von Sukmeister takes his inspiration (wahyu) from far away and from close-by (his grandfather dukun Suram Wahyono in desa Tempeh, Jawa Wétan) His oriental roots are clearly identifiable in his imagery, but graffiti, advertising and kitsch are also strongly present in his work. He combines exoticism and primitivism with the irony and ambiguity of the modern multicultural and multimedia society to create an intense passionate expression.

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: Le Complice
Camera: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Set Designer: R. M.
Set Assistant: Muraheni
Sound Editor: Nancy Reagan
Music: Blue R. B.
Location: Surakarta (Indonesia)
Location Details: Jl Dr. Rajiman 152, Solo 57151 (Surakarta, Indonesia)
Date: 25 October 2009
Wayang 2.0
Script: Open Source Amsterdam, H. Emmerich, There is a light that never goes out (2009), p. 41.
Series: Beyond Belanda: Seni Kontemporer
FUCK SEX ! LOVE ART
WAHYU!

Going Solo: That’s Ant-ertainment II !

2009-12-05T11:08:00.000-08:00

Going Solo: That’s Ant-ertainment II ! is L.C. von Sukmeister his third Death Dance artwork in the public space. This Seni Video performance will be on site (present) for the whole duration of social network site u-tube and throughout that time it will be producing images every day. Of course, Von Sukmeister could not possibly set up a large-scale project of this kind of his own. He entitled the assistance of numerous Ants.

‘Can I do the Death Dances in cooperation with the inhabitants of the cold ground, beyond success and beyond failure? Because doing an artwork in public space is never a total success, but also never a complete failure.’

This question embraces two key aspects of the Death Dance works: on the one hand, the idea of a work of art being created by and for the Ants, and on the other hand, an attempt to put art and philosophy quite literally, actively, in the public eye. Von Sukmeister believes in what Thomas Hirschhorn might call: ‘The Friendship between Art and Ants Philosophy.’

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: Le Complice
Associate Producer: Raden Saleh
Camera: L.C. von Sukmeister
Set Designer: Ants of Solo
Prop I: Bee
Prop II: SMS
Prop Assistant: Puthu Bali
Sound Editor: Rosa
Location: Surakarta (Indonesia)
Location Details: Classified
Date: 25 October 2009
Script: Open Source Amsterdam, T. Hirschhorn, The Bijlmer Spinoza Festival (2009), p. 27.
Series: Beyond Belanda: Seni Kontemporer
Wayang 2.0
Kamu Gila: Koe Wong Edan
FUCK SEX ! LOVE ART
WAHYU!

Going Solo: That’s Ant-ertainment!

2009-12-05T10:35:00.000-08:00

Although some of the ceremonial dances, associated with the Ants has diminished, the Death Dance remains firmly a topoi in Seni Video performances by L.C. von Sukmeister. In his Wonder World of Video Art at Surakarta the Death Dance is a re-enacted tale from the great Hindu epic poems, the Ramayana and the Mahabharata. This kind of Ant-ertainment was once widespread in Art Today (Lying/Liam Gillick) or Global Art (Hans Belting) and is still frequent in Indonesia in the form of Death Dances, Ant shows, and video performances. The prop animal, which is in this case the cockroach, appears and reappears, sometimes necessary to the plot, sometimes simply as part of the costuming.

Credits:
Art Director: Aton Slamet Wahyono bin Kasturi
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: Ants of Solo
Prop: Cockroach in Rest
Sound Editor: P. Weller
Location: Surakarta (Indonesia)
Location Details: Solo (Surakarta, Indonesia), Jalan Kemlayan Kidul
Date: 25 October 2009
Script: E. Frey, The Ants, Mystic Weapons of the Malay World (1988), p. 22
Series: Beyond Belanda: Seni Kontemporer
FUCK SEX ! LOVE ART
WAHYU!

Solving Problems: Cultural Issues in Wayang 2.0

2009-12-05T10:09:00.000-08:00

For all the magic, and mysticism and ritual associated with the Kris, it was, for the first few hundred years of its existence, primarily a weapon of defence and sudden assault. Literature and Visual Arts abound with accounts of its use in assassinations and executions, intrigues, rivalry and political murders. Indeed, at one time and in some Seni Video of Art Today (Lying/Liam Gillick) or Global Art (Hans Belting) it is still considered a despicable weapon, fit only for brigands such as Raden Saleh and L.C. von Sukmeister, a weapon of treachery and with poisonous and eliminating qualities at that.

Credits:
Art Director: Anton Slamet Wahyono bin Kasturi
Cinematographer: Le Complice
Camera: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Set Designer: Raden Saleh
Set Assistant: The Last Javanese Tiger
Prop: Kris
Problem: G. Wulders
Sound Editor: Ana
Music: Karmila
Location: Belanda
Location Details: Ste. Anne 129
Date: 3 December 2009
Wayang 2.0
Script: E. Frey, The Ants, Mystic Weapons of the Malay World (1988), p. 23
Series: Beyond Belanda: Seni Kontemporer
FUCK SEX ! LOVE ART
WAHYU!

FVGP @ Sign Groningen ... Soon More..

2009-10-01T07:11:00.000-07:00

aan"L.C. von Sukmeister"

datum1 oktober 2009 15:21
onderwerpRe: Friendly Video Graffiti Project
verzonden doorgmail.com
ondertekend doorgmail.com

Beste LC excuus was je niet vergeten, we vinden je werk goed. De ontheiliging en legaal/illegaal/grappig cv krijg je zo spreekt ons erg aan. Alleen in wat voor context wil je dat je werk te zien is met betrekking tot Sign? MIsschien de komende Kunstvlaai? Op Youtube werkt het in ieder geval. Heb je ideeen daarover? Hoop van je te horen.

vriendelijke groeten: Marie-Jeanne Ameln

Friendly Video Graffiti @ 11th International İstanbul Biennial, Antrepo No. 3

2009-09-26T08:37:00.002-07:00

Friendly Video Graffiti @ 11th International İstanbul Biennial, Antrepo No. 3 traces the deployment of critical discourse in the visual culture that is characteristic of Biennial’s happy time conflicts. L.C. von Sukmeister, PhD Candidate researcher of VU University Amsterdam, collected and sorted over 30 visual art interventions with the idea that their distinct aesthetics reveal the narratives of prevailing political conflicts, whilst providing insights into modern visual culture. This Friendly Video Graffiti Project also examines how local in- and exclusion mechanisms characterize museum and biennial discourses and their iconography. The project provides a multilayered chronology of the art conflict showing video art as sites, or host spaces, of a complex digital and analogue hybrid space for new art.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: Z. Maasri
Prop: Poster Archive Apple
For You: Para Usted
Location: 11th International İstanbul Biennial Antrepo No. 3,
Location Details: Meclis-i Mebusan Caddesi Liman İşletmeleri Sahası Tophane, Istanbul Turkey
Date: 24 September 2009
Script: Signs of Conflict, Political Video Graffiti of L.C. von Sukmeister’s War on Curatorship (2009), p. 171
Series: Friendly Video Graffiti Project 2009
Part VI: Istanbul re-visited
Spaces Part VI: 11th International İstanbul Biennial – Antrepo No.3, Outlet//Independent Art Space
FUCK SEX ! LOVE ART

Friendly Video Graffiti II @ Outlet // Independent Art Space

2009-09-26T08:37:00.001-07:00

The videos we know know by the name of “gallery accidents” or “funny videos” are based on ‘coincidental’ museum- and gallery-recordings of the ‘butterfingered’ art accidents caused generally by guerilla clumsiness, or some funny incidents artists have experienced and publicizing them dubbed with canned laughter. They slightly humiliate the art which experiences the accidents/interventions, putting them into ridiculous situations. For instance, a skinny stylish looking artist drops the intellectual and visual weights on himself when attempting to make art. However, such a so-called ‘funny’ art intervention is actually a quite painful experience for the gallery owner or museum curator crushed under the weights of heavy video graffiti. Therefore, this ‘bitter reality’ is hidden behind canned laughter and the suffering is turned into an art joke we laugh at and then contemplate about whilst finally crying out loud that art should not be in the hands of idiosyncratic curators.

Such art incidents induce in their viewers a sensation, which is called in German as ‘MuseenSchadenfreude’, meaning taking pleasure from the gallery’s and museum’s sufferings. And the curators who suffer from such incidents are usually white, higher-middle class people who are too fat, too thin, too intellectual, too old or too extra-ordinary. Therefore, the audience not only becomes happy because it did not happen to their art space (or, more correc tly, it happened to someone else’s exhibition temple) but also because they are not like those artsy people they laugh at.

The Friendly Video Graffiti Project is based on re-producing art.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: K. Ergun
Prop: Tanklove Ensemble
For You: Para Usted
Location: Outlet // Independent Art Space, ( OUTLET//İHRAÇ FAZLASI SANAT )
Location Details: Boğazkesen Cad. Kadirler Yokuşu No: 69 Tophane, Istanbul
Date: 24 September 2009
Script: A. Çavuşoğlu, If something bad happens it happens to art, Galeri NON
Series: Friendly Video Graffiti Project 2009
Part VI: Istanbul re-visited
Spaces Part VI: 11th International İstanbul Biennial – Antrepo No.3, Outlet//Independent Art Space
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Friendly Video Graffiti Remix A.W. Questioning if Removing Art is a Crime

2009-08-16T14:09:00.000-07:00

Just as the projects in public space staged by Haus-Rucker-Co were designed to entertain and provoke, Friendly Video Graffiti Project by L.C. von Sukmeister was a public provocation and annoyance, the video documentation of the art intervention projects in Istanbul, London and Vienna being a prime example of this strategy.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Laissez-Care
Set Designer: T. Stini
Prop: Fake
Location: A. Wien
Location Details: Museumsplatz 1, im MQ, 1070 Vienna
Date: 26 June 2009/16 August 2009
Script: MUMOK
Script Consultant: MUMOK, Level 3, Mind Expanders, Performative Bodies – utopian video around 2009
Series: Friendly Video Graffiti Project 2009
Part III: Vienna
Spaces Part III: Galerie ArtPoint / KulturKontakt, MUMOK, Engholm Engelhorn Galerie, Künstlerhaus Wien, MOYA
Architekturzentrum: Wien
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FVGP in trouble?!

2009-08-10T14:00:00.001-07:00

FVGP never backs down!

remember that! ~because art should be free of both immaterial as well as material constraints i.e. curatorial and/or architectural and/or legal constraints.

soon more....

FVGP @ Kurye Video Organization

2009-08-03T05:29:00.000-07:00

Banned Wikipedia Art Attempts to Intervene with Banned Airlines into Art Venues in Vienna

2009-08-03T05:28:00.000-07:00

http://en.wikipedia.org/wiki/List_of_air_carriers_banned_in_the_European_Union

http://www.youtube.com/user/lcvonsukmeister

http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=wikipedia+art

http://www.wikigrain.org/?req=L.C.+Von+Sukmeister

http://wikipediaart.org/

http://wikipediaart.org/wiki/index.php?title=Wikipedia_Art

http://wikipediaart.org/wp-content/uploads/2009/05/remix-call.pdf

http://de.wikipedia.org/wiki/WUK

http://en.wikipedia.org/wiki/Augarten

http://de.wikipedia.org/wiki/Bank_Austria_Kunstforum

http://en.wikipedia.org/wiki/Museum_Of_Young_Art

http://art-abattoir.blogspot.com/2009/06/friendly-video-graffiti-galerie.html

http://de.wikipedia.org/wiki/Gustinus_Ambrosi

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
For: Wikipedia Art Remix
Date: 30 July 2009
Locations Austria: WUK Vienna, Augarten Contemporary Vienna, Bank Austria Kunstforum Vienna, MOYA Vienna, Galerie ArtPoint Vienna, Ambrosi Museum Vienna

Friendly Video Graffiti @ Les Complices

2009-07-26T11:03:00.001-07:00

L.C. von Sukmeister his videos present seemingly straightforward images that are revealed to be illicit guerilla art by means of simple actions or interventions. His works mischievously explore the nature of the three-dimensional space in which they are produced, the two-dimensional surface on which they are shown, and the mental and imaginative spaces they evoke.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Complice
Associate Producer: Leopold Chrétien
Set Designer: U. Orlow
For You: Para Usted
Location: Les Complices
Location Details: Anwandstrasse 9, 8004 Zürich, Switzerland‎
Date: 16 July 2009
Script: M. Alejo, Para Usted, Daros E.
Series: Friendly Video Graffiti Project 2009
Part V: Basel / Zürich
Spaces Part V: Plug.in, Museum für Gegenwartskunst Basel, Kunsthalle Basel, Shedhalle, Daros Exhibitions, Les Complices
Les: Complices
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Friendly Video Graffiti @ Daros Exhibitions

2009-07-26T11:02:00.002-07:00

Friendly Video Graffiti Project (2009) is my first video art intervention project (for the text art interventions see several publications), and a direct consequence of my experience with institutions of control. Of great importance to me is not trying to express a thought, but generating it instead: in other words, the gap between my proposal and the viewer’s perception or reenactment. I don’t think it’s terribly difficult to read my work― at least, that is how I would like it to be. That is my intention while I am at work. But I ran as fast as I could, until I was out of sight.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designer: L. Porter
For You: Para Usted
Location: Daros Exhibitions
Location Details: Limmatstrasse 268, 8005 Zürich, Switzerland‎
Date: 16 July 2009
Script: Liliana P., Para Usted, Daros E.
Series: Friendly Video Graffiti Project 2009
Part V: Basel / Zürich
Spaces Part V: Plug.in, Museum für Gegenwartskunst Basel, Kunsthalle Basel, Shedhalle, Daros Exhibitions, Les Complices
Daros: Exhibitions
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Friendly Video Graffiti @ Shedhalle

2009-07-26T11:02:00.001-07:00

Friendly Video Graffiti Project (2009) is an explicit demonstration of the significance of the images and language of art, its representation, institutionalization and articulation. It also appropriates a multi media technology that takes advantage of L.C. von Sukmeister his interest in texts, words, guerilla film processes, and art intervention.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designer: B. Visser
Last: Lecture
Location: Shedhalle
Location Details: Seestrasse 395, 8038 Zürich, Switzerland‎
Date: 17 July 2009
Script: A. Jaar, Para Usted, Daros E.
Series: Friendly Video Graffiti Project 2009
Part V: Basel / Zürich
Spaces Part V: Plug.in, Museum für Gegenwartskunst Basel, Kunsthalle Basel, Shedhalle, Daros Exhibitions, Les Complices
Shedhalle: Zurich
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Friendly Video Graffiti @ Kunsthalle Basel

2009-07-26T11:01:00.000-07:00

L.C. von Sukmeister his film Friendly Video Graffiti @ Tanas (2009) takes viewers for a 2.52 minute tour in the Kunsthalle Basel. Realised as documentation of a staged and illicit art intervention, the work features a camera telling the alternative story of a work of art in a kunsthalle. Following the camera’s steps, we visit the alleys and discover hideouts that turn out to be art cruising places. The meanings revealed by the camera’s narration undermine the standard reading of museum architecture as a fully controlled, aesthetically pleasing environment.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designer: S. Augustijnen
Location: Kunsthalle Basel
Location Details: Steinenberg 7, 4051 Basel,‎ Switzerland
Date: 14 July 2009
Script: Report on Probability
Series: Friendly Video Graffiti Project 2009
Part V: Basel / Zürich
Spaces Part V: Plug.in, Museum für Gegenwartskunst Basel, Kunsthalle Basel, Shedhalle, Daros Exhibitions, Les Complices
Kunsthalle: Basel
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Friendly Video Graffiti @ Museum für Gegenwartskunst Basel

2009-07-26T11:00:00.000-07:00

Acting is somewhat like posing and posing is somewhat like an act of performance. Most people perform daily either through their persona, the things they do or wear, in their work or leisure time. We transform ourselves through small gestures and by changing small details around ourselves. Friendly Video Graffiti Project (2009) is not aiming to give an overview on the formal and informal codes that constitute our communication in daily life, but instead to gather artistic ositions for a mutual play on smaller or larger deeds.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designer: Bruce N.
Location: Museum für Gegenwartskunst
Location Details: Sankt Alban-Rheinweg 60, 4052 Basel, Switzerland‎
Date: 14 July 2009
Script: Little Theatre of Gestures
Series: Friendly Video Graffiti Project 2009
Part V: Basel / Zürich
Spaces Part V: Plug.in, Museum für Gegenwartskunst Basel, Kunsthalle Basel, Shedhalle, Daros Exhibitions, Les Complices
Museum für Gegenwartskunst: Basel
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Léger and Sachs Animal Fest

2009-07-26T10:59:00.002-07:00

Continuing his exploration of the relationship between live performance and film, with Léger and Sachs Animal Fest (2009) L.C. von Sukmeister investigates the connections between death and art. How does death invent art? Which ―death or art― engenders meaning? How does meaning reinvent itself out of varied, ironic, even comic assemblages? Far from the expected demonstration of the precedence of death over art, the performance leads us towards fictions that seem to multiply dizzyingly.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designers: T. Sachs & F. Léger
Animals: Unknown
Location: Zurich
Location Details: Laleh June Galerie, Kunstmuseum Zurich‎
Date: 16 July 2009
Script: Encore – Retrospective, Yan D.
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Moving McCarthy from Hauser & Wirth to Les Complices

2009-07-26T10:59:00.001-07:00

This new video, taken from L.C. von Sukmeister his material collection, what he calls purposefully obtusely “stuff”, focuses on two journeys. One north to Hauser & Wirth, following in the footsteps of the American artist Paul McCarthy, who ventured there in 2009 to measure the shape of the coca cola cans. One south to les Complices retracing this time the coca cola can. These two expeditions share the same goal; acquisition. One of artistic knowledge the other of objects. And of both we can ask the question where should they be sited? L.C. von Sukmeister his art video installations of the last few years have dealt in varying registers with this same question. Can and should information, knowledge, objects, things and stuff be held, horded or retained? And where is and should repository be?

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designer: P. McCarthy
Location: Zurich
Location Details: Limmatstrasse 270, 8005 Zürich, Switzerland // Anwandstrasse 9, 8004 Zürich, Switzerland‎
Date: 16 July 2009
Script: Report on Probability, Kunsthalle Basel
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Friendly Graffiti on Video

2009-07-26T10:58:00.002-07:00

Friendly Graffiti on Video (2009) is a narrative hybrid that seeks to establish history on a foundation of unfulfilled possibilities, and turn it to our advantage, make it “useful”. This mode of telling history favours “as if..” over “there was..”. Neutral and rigid, graffiti is a method used to give facts a definitive structure and bring them out of oblivion in strict chronological order. When applied to “friendly” and not commonly accepted as “facts”, graffiti becomes a speculative exercise in thinking the-future-in-the-past, mobilizing the intuitive and associative mind in order to teach us something that would have otherwise remained suppressed or forgotten.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designer: LCVS
Location: Zurich
Location Details: Zurich Wollishofen, Bachstrasse
Date: 17 July 2009
Script: Report on Probability, Kunsthalle Basel
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The Purpose of Nothing by Richard Long & L.C. von Sukmeister

2009-07-26T10:58:00.001-07:00

As a para-performative artist-historian, L.C. von Sukmeister his place is at the brim of contemporary visual art. Exhibition as a format of distribution is not quite adequate for this time based medium. His audience often knows some of his works, but it is hardly possible to have an overview over the artist his extensive body of works. Von Sukmeister has realized and staged numerous performances as well as video works and texts appropriations. In over 5 years his work has continuously developed and grown more and more acute.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: La Chute
Associate Producer: Leopold Chrétien
Set Designers: R. Long & LCVS
Location: Zurich
Location Details: Zurich Wollishofen, Bachstrasse
Date: 17 July 2009
Script: Encore – Retrospective, Yan D.
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Friendly Video Graffiti @ Plug.in

2009-07-26T10:57:00.000-07:00

L.C. von Sukmeister (*1981 in Indonesia, lives in Holland) is one of the most important media- and performance artists in Holland and Switzerland. His work addresses media and their effects on society. On stage he merges live-performance with youtube-images, film sequences or art video games.

Von Sukmeister builds a tension between the monitor with the mediatized image and his physical presence. He physically executes an emotional identification with the beautiful and the powerful as well as the evil and uncanny of the world of media ―an identification we experience ourselves again and again. Von Sukmeister his Friendly Video Graffiti Project (2009) is most relevant for a society which is thoroughly steeped in media and media images.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: Y. Duyvendak
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Ten for Free: Kurye Video Organization
One for Free: Plug.in Basel
Location: Plug.in
Location Details: St. Alban-Rheinweg 64, 4052 Basel, Switzerland
Date: 15 July 2009
Script: Encore – Retrospective, Yan D.
Series: Friendly Video Graffiti Project 2009
Part V: Basel / Zürich
Spaces Part V: Plug.in, Museum für Gegenwartskunst Basel, Kunsthalle Basel, Shedhalle, Daros Exhibitions, Les Complices
Plug.in: Basel
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Friendly Video Graffiti @ Kunstraum Kreuzberg / Bethanien

2009-07-06T15:00:00.001-07:00

L.C. von Sukmeister takes the side of the guerilla tactic and the video tag, which is ever circulating and accessible on the internet, and develops a stance against the system of curators and galleries that separates the art world into those who choose and those who are chosen. Bend down you Massimiliano Gioni, Okwui Enwezor, Hans Ulrich Obrist, John Elderfield, Roger M. Buergel, Richard Flood, Daniel Birnbaum, Saskia Bos and Sylvie Fleury!

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designers: Atilkunst, Kurye Video Organization, Oda Projesi
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Ten for Free: Kurye Video Organization
Three for Free: Kunstraum Kreuzberg / Bethanien
Location: Kunstraum Kreuzberg / Bethanien
Location Details: Mariannenplatz 2, 10997 Kreuzberg, Berlin, Germany
Date: 4 July 2009
Script: istanbul-off-spaces
Script Consultant: istanbul-off-spaces
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Kunstraum Kreuzberg: Bethanien
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Friendly Video Graffiti @ Tanas

2009-07-06T14:59:00.002-07:00

The paranoia of power and mechanisms of control by means of camera’s in museums and galleries for contemporary art, or art today as Lying Gillick would propose, keep the video warrior L.C. von Sukmeister much aware and careful, yet passive-aggressively holding his artistic position against any indiscernible reason. Fears and the ever-present paranoia of museum rhetoric in late-capitalist society and institutional politics form the background of Von Sukmeister his investigantions into different aspects of video use and its relationship to the architecture of declaring war against institutional practices. And at the same time he promotes the video art of upcoming or renowned artists who’s works he tags, by textually, and sometimes also visually, referring to them. Eventually that makes his art intervention practices friendly for sure, doesn’t it?

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: L. Raskin & S. Fotouhi
Props: Control Room & Pinned Pawn in the Landscape
R. Lisi & Shahab F.
Location: Tanas
Location Details: Heidestrasse 50, 10577 Berlin, Germany
Date: 3 July 2009, ReadyMade2008 & ReadyMade2008
Script: Red Thread - Ein Prolog zur 11. Internationalen Istanbul Biennale
Script Consultant: Video Thread, Tanas, What, How & for Whom / WHW
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Tanas: Vixdei Thread !
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Friendly Video Graffiti @ Hamburger Bahnhof ― Museum für Gegenwart

2009-07-06T14:59:00.001-07:00

I have to make a distinction , now… Artists, such as Beuys, who spoke about the virtues of collective production did not mean the same thing as working within a collective. Those individual artists, who are utilizing [exploiting] other qualified labour and talking about collective engagement seem to be more like capitalists talking about the virtues of communism. This usage of collectivity functions more like a self promotional activity; an artist leading the crowds, teaching, organizing, but eventually capitalizing these engagements into product based works which can be collected and stored. However, as a para-performative artist-historian and guerilla artist I am the exception to this rule.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: Joseph B.
Music: John C.
J. Beuys & Tito
Location: Hamburger Bahnhof ― Museum für Gegenwart
Location Details: Invalidenstr. 50-51, 10557 Berlin, Germany
Date: 3 July 2009
Script: Xurban_Collective
Script Consultant: Proposed but not engaged, On individuality
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Hamburger Bahnhof: Museum für Gegenwart
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Video Graffiti by Gordon Matta-Clark & L.C. von Sukmeister

2009-07-06T14:58:00.002-07:00

Gordon Matta-Clark reconstructed the texts drawn by the youngsters on metro buses, representing dreams and realities. L.C. von Sukmeister conducted a video graffiti exercise with both Matta-Clark’s photoglyph series and his own rendition of this material. With the unwilling collaboration of the musician N. these texts were turned into a visual lyric.

In the pose of a traveler visiting the ruins in Rome whose fantasy blossoms in the face of the remains of a lost culture, Von Sukmeister approached Matta-Clark his aesthetic imagery of the industrial era ―railway bridges, graffiti, building equipment, parking lots, etc.― and re-interpreted it online as newly born graffiti 2.0.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: G. Matta-Clark
Music: N.
Sound Editor: La Chute
Props: Graffiti - Photoglyph
Location: Hamburger Bahnhof ― Museum für Gegenwart
Location Details: Invalidenstr. 50-51, 10557 Berlin, Germany
Location II: Studio LCVS
Location Details II: I-net off-space Ste. Anne
Date: 4 July 2009, 9 July 2009, ReadMade1973
Script: istanbul-off-spaces
Script Consultant: istanbul-off-spaces
Script II: Living Archaeology: Gordon Matta-Clark and 1970s New York
Script Consultant II: Modernism as a Ruin. An Archaeology of the Present, Generali Foundation, 2009, p. 156
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Who’s Afraid of Cuba Knubel?

2009-07-06T14:58:00.001-07:00

The work Who’s Afraid of Cuba Knubel? By L.C. von Sukmeister seeks to create a fragmented narrative dealing with auto-histories, artistic self-positioning, political contexts and ideological conditions, languages of power and moral hypocrisy, visibility and distance, in which marginalized inter-net articulations are inter-related in what Brian Holmes calls ‘interscale’ ― the way interconnectedness clashes with different scales, from the ‘intimate to the global by way of the urban, the national and the regional.’

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: R. Armstrong, F. Hütte, I. Knoebel
Music: D.L. Soul & M. Parker
Sound Editor: La Chute
Props: I-mini Knoeblchen & Cuba man
Location: Deutsche Guggenheim,
Location Details: Unter den Linden 13, 10117 Mitte, Berlin, Germany
Location II: Studio LCVS
Location Details II: I-net off-space Ste. Anne
Date: 4 July 2009, 9 July 2009
Script: Red Thread- Ein Prolog zur 11. Internationalen Istanbul Biennale
Script Consultant: Video Thread, Tanas, What, How & for Whom / WHW
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Hans Haacke Remix @ Kunstraum Kreuzberg Bethanien

2009-07-06T14:56:00.000-07:00

Absolute Wahnsinnshow, im Museum und im Youtube, die Video lacht so schadenfroh, Hans Haacke wie Diese, Niemand der mir sagt wieso, ob Frühstück oder Abendbrot
die Fragen warum so gnadenlos, Hans Haacke wie Diese. Hans Haacke Remix @ Kunstraum Kreuzberg Bethanien, a project by L.C. von Sukmeister in cooperation with Nadin R. and O. Projesi in public space, started after Istanbul-off-spaces and go on within the scope of the Friendly Video Graffiti Project. The project is about language and appropriation. What happens if the ordinary form of a language course is borrowed to look at the way language is being used in high art discourses? What is the dominant use of language, which kind of words do we choose to use? Art Words, References to art practices, Language has the power to define spaces of inclusion and exclusion in society: Hans Haacke wie diese!

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: Oda P. & Nadin R.
Music: F. Brot
Sound Editor: La Chute
Prop: Tongue by O. Projesi & N. Reschke
Location: Kunstraum Kreuzberg / Bethanien
Location Details: Mariannenplatz 2, 10997 Berlin, Germany
Location II: Studio LCVS
Location Details II: I-net off-space Ste. Anne
Date: 4 July 2009, 9 July 2009
Script: istanbul-off-spaces
Script Consultant: istanbul-off-spaces
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Friendly Video Graffiti @ Galerie Schuster

2009-07-06T14:55:00.001-07:00

The art establishment functions through selective categorization, bundling, packaging, labeling and marketing methods of conventional art production. This institutional model is not compatible with the individual underground subversive interventionist graffiti 2.0 production, simply because the notion of “success” is defined with respect to collective notions of artistic production…

In short; the video warrior as individual is not a collective or an institution, he is not a legal entity. The video warrior is not a subject, but multiple subjects who constantly and independently define what art is, what it should be. There is no representation. It inherits conflict. Without conflict there is no aristocracy.

There are hundred of thousands or artists, filling global cities. Scared, vulnerable, and anxious, these individual artists perfectly fit in the neo-liberal re-structuring of societies. To be precise, corporate frameworks (including the art establishment) requires competitive exploitable individuals. Onlay after an artist becomes successful, thanks to conventional art historical/curatorial-promotional enterprises, he/she can play the hero, talk freely and be expressive. Otherwise too much risk is involved… but wait, L.C. von Sukmeister, the little unknown but tremendous intellectual strong para-performative artist-historian, who is on the forefront of new media avant-garde and institutional critique, he is the one who will bring the corrupted art system to its knees. En garde! El Manteo! Let’s Bull Fight!

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: Chus L. Vidal
Musik: John C.
Prop: El Manteo
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One for Free: Galerie Schuster
Location: Galerie Schuster
Location Details: Heidestrasse 46, 10577 Berlin, Germany
Date: 3 July 2009
Script: Xurban_Collective
Script Consultant: Proposed but not engaged, On individuality
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Galerie: Schuster
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Friendly Video Graffiti @ Neues Problem

2009-07-06T14:54:00.000-07:00

With its blurred, unclear visual structure, strained and almost shivering tones, L.C. von Sukmeister his Friendly Video Graffiti Project does seem random and casual, however it is carefully planned and composed. Nevertheless, it emerges out of a “Banksyan” spontaneity. The occurrence is usually concentrated in the center of the video image. The impression emerges that the artworks are props, and that the space surrounding them serves merely as stage. Oscillating between documentary and staged performance art intervention practices, Von Sukmeister’s visual language addresses the exclusion and inclusion of art due to selection politics of curators.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: Neues L.C.
Preis: € 3.700,00 (ink. 10 % MwSt.)
Location: Neues Problem
Location Details: Auguststr. 21, 10117 Berlin, Germany
Date: 2 July 2009
Script: C/O Berlin
Script Consultant: C/O Berlin, Talents 15. In Our Time, A. Lass, K. Melzer
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Daimler: Contemporary
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Friendly Video Graffiti @ Daimler Contemporary, part III

2009-07-06T14:53:00.000-07:00

The Friendly Video Graffiti Project by L.C. von Sukmeister is a metaphor for invisible but unbroken relations between the institute and the visitor annex observer who links up different endeavours and explorations, regardless of what the spatio-temporal determinations of renowned curators prescribe for the audience.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Costume Designer: J. van der Watt & D. Lepen
Set Designer: Themba Mngomezulu for Darkie Clothing
White: Coffee
Brown: Filmer
Preis: € 6.900,00 (ink. 10 % MwSt.)
Location: Daimler Contemporary
Location Details: Haus Huth, Alte Potsdamer Straße 5, 10785 Berlin, Germany
Date: 2 July 2009
Script: Red Thread - Ein Prolog zur 11. Internationalen Istanbul
Script Consultant: Video Thread, Tanas, What, How & for Whom / WHW
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Neues: Problem
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Friendly Video Graffiti @ Daimler Contemporary, part II

2009-07-06T14:52:00.000-07:00

The Friendly Video Graffiti Project by L.C. von Sukmeister holds on to the idea of artistic production and intervention as one potentially privileged way to de-construct the transmission and formation of cognition. It pleads for the role of art as one of experimental and subversive agency and the organization of perception in a society dominated by systematic blindness of renowned curators (Massimiliano Gioni, Okwui Enwezor, Hans Ulrich Obrist, R.S. de Boer, John Elderfield, Roger M. Buergel, Richard Flood, Daniel Birnbaum, Saskia Bos) to anything outside of the institutional circulation worldwide.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Costume Designer: J. van der Watt & D. Lepen
Set Designer: Themba Mngomezulu for Darkie Clothing
White: Coffee
Brown: Filmer
Preis: € 13.600,00 (ink. 10 % MwSt.)
Location: Daimler Contemporary
Location Details: Haus Huth, Alte Potsdamer Straße 5, 10785 Berlin, Germany
Date: 2 July 2009
Script: Red Thread - Ein Prolog zur 11. Internationalen Istanbul
Script Consultant: Video Thread, Tanas, What, How & for Whom / WHW
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Daimler: Contemporary
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Friendly Video Graffiti @ Daimler Contemporary, part I

2009-07-06T14:51:00.000-07:00

Current positions and issues in the fields of art intervention, guerilla art, gu3r1lla art, and new art video appropriation (NAVA) are presented and explored in the Friendly Video Graffiti Project. In previous videos, respected experts and prominent figures including Richard Armstrong, Michael Baldwin of the Art & Language, prof.dr. Hans-Dieter Huber, dr. Stefano Mirti, drs. W. Weijers, drs. R.S. de Boer, Liam Gillick also known as (stop) making sense lying dillick, dr. Francis Halsall, and Sylvie Fleury have provided their cooperation to L.C. von Sukmeister. Through this series of videos, Von Sukmeister promotes the discourse between the disciplines of visual art, curating practices and illicit underground resistance and subversiveness.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Costume Designer: J. van der Watt & D. Lepen
Set Designer: Themba Mngomezulu for Darkie Clothing
White: Coffee
Brown: Filmer
Preis: € 7.800,00 (ink. 10 % MwSt.)
Location: Daimler Contemporary
Location Details: Haus Huth, Alte Potsdamer Straße 5, 10785 Berlin, Germany
Date: 2 July 2009
Script: C/O Berlin
Script Consultant: C/O Berlin, International Forum for Visual Dialogues
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Daimler: Contemporary
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Friendly Video Graffiti @ Georg Kolbe Museum

2009-07-06T14:50:00.000-07:00

Based on the historicity of the video in question, Dutch video warrior L.C. von Sukmeister, born in Indonesia and now lives in the Neverlands (Arcadia), usually develops his interventionist works in buildings destined for art today or contemporary art. They form the “artistic material” into which he inscribes himself. In his Friendly Video Graffiti Project, Von Sukmeister works for a couple of minutes on the floor of these buildings such as galleries and museums. In the condensation of actual art historical videos and temporal process, new perspectives on art historical facts are uncovered and are reflected through the social position of the artist as para-performative artist-historian. All his videos are accompanied by texts that refer to existing texts of press releases, catalogues, announcements, leaflets, etc. and the videos document alongside the changes to the content of these buildings the immense physical exertion of the artist involved in making his video art.

Credits:
Art Director: L.C. von Sukmeister
Cinematographer: Le Chef du Bureau
Associate Producer: Leopold Chrétien
Set Designer: Georg Kolbe
Location Scout: M. Elmgreen & I. Dragset
Drama Queens: Michael E., Ingar D, Georg K.
Preis: € 18.700,00 (ink. 10 % MwSt.)
Edition: 2007-2009
Location: Georg Kolbe Museum
Location Details: Sensburger Allee 25, 14055 Berlin Germany
Date: 2 July 2009, ReadyMade2007
Script: n.b.k.
Script Consultant: n.b.k., T. Kilpper, State of Control
Series: Friendly Video Graffiti Project 2009
Part IV: Berlin
Spaces Part IV: Georg Kolbe Museum, Daimler Contemporary, Neues Problem, Hamburger Bahnhof Museum - für Gegenwart, Galerie Schuster, Tanas, Kunstraum Kreuzberg Bethanien
Georg Kolbe: Museum
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Friendly Video Graffiti @ MUMOK

2009-06-29T15:36:00.000-07:00

L.C. von Sukmeister not only works at the interface between threedimensional real time space and twodimensional digital online space, but also at the boundary between art intervention practices, art history, new art video appropriation (NAVA) and institutional critique. In his Friendly Video Graffiti Project, Von Sukmeister explores questions such as what and who constitutes art and in which ways, how do museum institutes and galleries for contemporary art react to non-registred art, how do they cope with guerilla actions, and finally, is all presented art in a museum space an artwork. This project is the result of actions in which Von Sukmeister, with a cybershot 4.1 camera, acted as a mobile graffiti 2.0 artist. He moves from one exhibition space to the next, adopting a variety of interventions as he goes. The twodimensional results of the different art intervention practices in threedimensional exhibition spaces presented on youtube have been projected in a double helix at other threedimensional venues of art, which thus are to be tagged or occupied by Von Sukmeister’s Friendly Video Graffiti Project, and are to be documented on video and again finally presented on the twodimensional space of the internet, etc.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Laissez-Care
Set Designer: V. Export
Hyperbulie: Dikke tulie
Preis: € 15.800,00 (ink. 10 % MwSt.)
Edition: 1973-2009
Location: Museum Moderner Kunst Stiftung Ludwig Wien
Location Details: MuseumsQuartier, Museumsplatz 1, A-1070 Vienna, Austria
Date: 24 June 2009, ReadyMade1973
Script: MUMOK
Script Consultant: MUMOK, Level 3, Mind Expanders, Performative Bodies – utopian video around 2009
Series: Friendly Video Graffiti Project 2009
Part III: Vienna
Spaces Part III: Galerie ArtPoint / KulturKontakt, MUMOK, Engholm Engelhorn Galerie, Künstlerhaus Wien, MOYA
Museum Moderner Kunst: Stiftung Ludwig Wien
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Friendly Video Graffiti @ Engholm Engelhorn Galerie

2009-06-29T15:35:00.002-07:00

A certain ambiguity can be sensed in the works of the Dutch video artist, para-performative artist-historian, artistic conceptualist and art interventionist L.C. von Sukmeister, which he is tagging the walls at renowned museum institutes and galleries of contemporary art, or art today as Lying Gillick would propose, hence the ².

Von Sukmeister continues in his new works his deconstructural approach of documenting ordinary and familiar situations in a distant manner. Through his view, the montage and the choice of the moment ―and in particular the choice of the physical threedimensional space, he reveals the absurdity and bizarreness behind video art today and the in- and exclusion mechanisms of the art world and its bourgeois institutes. Through complex appropriated an modified narrations and stories in accompanying texts, such as this, he manages to point out in a playful, but accurate way, the hubbub of art today and its blah blah bragging discourse by spoiled curators and lousy art critics. In other words, Von Sukmeister exemplifies the commodified fragments of theory—a production of ideas along the lines of Fordist car production. In contemporary art magazines, and even more in catalogs, related publications (even if they are termed “critical readers”), and artist’s statements, discourse is likely to be positive and celebratory; criticism tends to become highbrow copywriting.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Laissez-Care
Set Designer: A. Jermolaewa
Step: Aside
Preis: € 8.400,00 + € 461,76 (ink. 10 % MwSt.)
Edition: 2/5 + 2 e.a.
Location: Angbrat Angelhorny Gallery
Location Details: Schleifmühlgasse 3 A-1040 Vienna, Austria
Date: 27 June 2009, ReadyMade2009
Script: Eng Engel G.
Script Consultant: Keg², In the Obama era our collaboration dear Anna stood at the edge of an abyss…
Script Consultant II: Sven L., deconstructing Lying Gillick
Blogspot: http://svenlutticken.blogspot.com/2009/05/deconstructing-liam.html
Series: Friendly Video Graffiti Project 2009
Part III: Vienna
Spaces Part III: Galerie ArtPoint / KulturKontakt, MUMOK, Engholm Engelhorn Galerie, Künstlerhaus Wien, MOYA
Engholm: Engelhorn Galerie
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Friendly Video Graffiti @ MOYA

2009-06-29T15:35:00.001-07:00

Inspired by the actions of Hans Haacke and Aatje Fraser, L.C. von Sukmeister developed a heavily gestural guerilla video style all his own with blurred in and out zooming and symbols and texts appropriated to fill monumental art thoughts. His art intervention practices derive their extraordinary tension from their constant oscillation between sensitivity and vulgarity, originality and friendly vandalism, filigree craftsmanship and expansive self-expressiveness. Children’s play, mindless doodling graffiti, and video assemblages cobbled together out of found artifacts such as obsolete art videos have all served him as jumping-off points from which to reinterpret bourgeois museum institutes, the white wall hells, and trace an arc to all the great themes of political activism and radical playfulness.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Laissez-Care
Set Designer: A. Niesterowicz
Set Designer II: V. Nancặ
Artist: I am the Artist HERE I am annoying and not drunk
Time: 4min. 44sec.
Europe 1981 – 2011: 30 Years of Social and Institutional Critique
Location: Museum of Young Art Intervention.
Location Details: Löwelstraße 20, 1010 Innere Stadt, Vienna, Austria
Date: 27 June 2009, ReadyMade 2003 & ..
Script: MUMOK
Script Consultant: MUMOK, Level 4, Fly Twombly, Sensations of the Moment
Series: Friendly Video Graffiti Project 2009
Part III: Vienna
Spaces Part III: Galerie ArtPoint / KulturKontakt, MUMOK, Engholm Engelhorn Galerie, Künstlerhaus Wien, MOYA
MOYA: Europe 1981-2009, 28 Jahre danach
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Friendly Video Graffiti @ Künstlerhaus Wien

2009-06-29T15:34:00.000-07:00

The various ways in which the Friendly Video Graffiti Project by L.C. von Sukmeister was presented in museum institutes and galleries in Istanbul, London and Vienna, alternating between provocative acts designed for mass effect through the display on youtube and vimeo, and a conceptual analysis of history, society, art politics, media and language, rflect more than simply concerns of a specifically local home video nature. And even if the local political climate was not immediately inspiring, inspiration can nevertheless be found in the loss of the replaced art videos and new connection with the networking ―corresponding to the growing mediatisation of society― of socio-political developments and artistic strategies within society.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Laissez-Care
Set Designer: k/h Nitsch
Prop: Video Hermann N.
Location: k/h Wien
Location Details: Akademiestraße 13, 1010 Innere Stadt, Vienna, Austria
Date: 26 June 2009
Script: MUMOK
Script Consultant: MUMOK, Level 1, Mind Expanders, Performative Bodies – utopian video around 2009
Series: Friendly Video Graffiti Project 2009
Part III: Vienna
Spaces Part III: Galerie ArtPoint / KulturKontakt, MUMOK, Engholm Engelhorn Galerie, Künstlerhaus Wien, MOYA
Künstlerhaus: Wien
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Friendly Video Graffiti @ Architekturzentrum Wien

2009-06-29T15:33:00.000-07:00

Just as the projects in public space staged by Haus-Rucker-Co were designed to entertain and provoke, Friendly Video Graffiti Project by L.C. von Sukmeister was a public provocation and annoyance, the video documentation of the art intervention projects in Istanbul, London and Vienna being a prime example of this strategy.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Laissez-Care
Set Designer: T. Stini
Prop: Fake
Location: A. Wien
Location Details: Museumsplatz 1, im MQ, 1070 Vienna
Date: 26 June 2009
Script: MUMOK
Script Consultant: MUMOK, Level 3, Mind Expanders, Performative Bodies – utopian video around 2009
Series: Friendly Video Graffiti Project 2009
Part III: Vienna
Spaces Part III: Galerie ArtPoint / KulturKontakt, MUMOK, Engholm Engelhorn Galerie, Künstlerhaus Wien, MOYA
Architekturzentrum: Wien
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Friendly Video Graffiti @ Galerie ArtPoint / KulturKontakt

2009-06-29T15:32:00.000-07:00

The Dutch intervention artist L.C. von Sukmeister focuses his attention on places where the past and modernity meets, where high art and intervention and low brow home video come into contact, where people and curators search for their own understanding of the present and the future. The artist has found such places in Vienna’s museum institutes and galleries of contemporary art, or art today as Lying Gillick would propose. In his Friendly Video Graffiti Project Von Sukmeister examines the atmosphere of these art places and interacts with the artworks which are usually excluded from public view on the internet to become for many people obscured artifacts behind closed bourgeois doors. He documents his art interventions by means of texts, photography and video.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Laissez-Care
Set Designer: Siniša I.
Prop: Video an Heiner M, Version II
Location: G. A. KulturK.
Location Details: Universitätsstraße 5, 1010 Vienna
Date: 24 June 2009, ReadyMade2009
Script: KulturKontakt Austria
Script Consultant: K.K., The Search for Hidden Stories, and the Fatigue of Those Who Know
Series: Friendly Video Graffiti Project 2009
Part III: Vienna
Spaces Part III: Galerie ArtPoint / KulturKontakt, MUMOK, Engholm Engelhorn Galerie, Künstlerhaus Wien, MOYA
Galerie ArtPoint: KulturKontakt
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Suffer Love LCIX @ 69 Square

2009-06-20T15:20:00.000-07:00

Blue Screen Suki’s Yard is pleased to announce the exhibition of new work by L.C. von Sukmeister, one of the Netherlands their most critically acclaimed underground artists.

The title for this work is self-explanatory: originality rarely comes easily and if it does, it usually goes quite quickly. And there is death, love and loss, which at some point in our lives we all have to deal with. I’m constantly fighting the institutions of art today or contemporary art with the notion of love and passion. Love , sex, lust, appropriation ―in my new art video appropriation (NAVA) practices and Friendly Video Graffiti Project there is always some battle, some kind of conflict.

This work, Suffer Love LCIX @ 69 Square (2009) is essentially an artistic concept. Everything is simple and linear, straight to the point. The work is to coincide with the exhibition of my newest video works concerning the Friendly Video Graffiti Project part II in London (2009), made possible by Saatchi Gallery, Whitechapel Gallery, Chelsea College of Art and Design University of the Arts London and Parasol Unit Foundation for Contemporary Art.

There is a simplicity and modesty about this blue work, that has made me feel very happy and horny and complete, like I have gone a full circle and I’m back to what I really know, that is: continuing the video war!

L.C. von Sukmeister, June 2009

There can be few artists who reveal the intimate details of art exhibition spaces so powerfully and with such candour as L.C. von Sukmeister. He has exhibited extensively internationally on social network sites such as vimeo and youtube. In 2009 L.C. von Sukmeister celebrated his first exhibition in a three dimensional real time space at Schuler Books and Music as part of the Experimental Narratives segment of the Smart Multimedia Arts Festival in Grand Rapids (MI) by Open Concept Gallery. His works which critically undermine presentation conventions are both intensely personal and resonantly universal and, as fellow artist Tracey Emin said recently:

Von Sukmeister’s need to be avant-garde, ground-breaking, institutionally critical, interventional and humorous supercedes all honesty in life and art. The crystalline presentation of video art in the most (supposedly) influential institutions of contemporary art (or art today as Lying Gillick would prefer) are what he wants to share with us online.

L.C. von Sukmeister is an emerging figure of Dutch Contemporary Art Scene. He was represented with his wiki art project (2009) in the Experimental Narratives part of the SMart Multimedia Arts Festival in Grand Rapids Michigan USA (1-7 April 2009). The Selected Art Contest he participated this year 2009 was the 'Think Ahead! Open Platform' Award Competition of the Netherlands Media Art Institute (NIMk), Amsterdam. Von Sukmeister lives in Nijmegen and works in Amsterdam and throughout Europe. Von Sukmeister started to create the Friendly Video Graffiti Project (2009) to gain more interest for his new art video appropriation (Nava) practices and the institutional boundaries of exhibiting video art, bridging the gap between the internet as public space for exhibition and the white wall projection rooms of museums and galleries.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Set Designer: Le Curator
Camera: Le Cybershot 4.1
Those Who: Rabbit Love
Tracey: BFF
Paris: London
Istanbul: John
Intermediair: à la Française
BFF: Eminent Paris
Those Who: Play the Blues
Location: London SW1Y 6BU United Kingdom
Location II: 6524 EN The Neverlands
Location Details: 25-26 Mason’s Yard St. James’s
Location Details II: Ste. Anne 129, Arcadia
Date: 18 June 2009
Script: White Coltrane
Script Consultant: White Cube, T. Emin, Those Who Suffer Love
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Friendly Video Graffiti @ Chelsea College of Art and Design

2009-06-20T14:26:00.001-07:00

Strongly iconoclastic and highly institutional critical, L.C. von Sukmeister began to experiment with art intervention practices such as the Friendly Video Graffiti Project, with works such as Friendly Video Graffiti @ Outlet//Independent Art Space (2009) and Friendly Video Graffiti @ BM Suma Contemporary Art Center (2009) in Istanbul Turkey.

The video warrior L.C. searches for innovative new media prose to express his philosophical and political views on real time and online exhibition spaces for art today (contemporary art) and on the hierarchical order of the art world.

The Friendly Video Graffiti Project investigates both the origins of re-interpreting three and two dimensional presentation showcases for art, as well as cannibalizing art as neo-simulacrum.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Lauren Conrad
Camera Operator: La Chemise
Grace: Schofield
Disgrace: L.C.
This Grace: Lost Creation
Before: Schofield
Jean: Baudrillard
Peter: Hell no Ey
Location: London SW1P 4JU
Location Details: 16 John Islip Street
Date: 18 June 2009
Script: W. Gallery
Script Consultant: W. Gallery, The Whitechapel Boy, p. 10
Series: Friendly Video Graffiti Project 2009
Part II: London
Spaces Part II: Saatchi Gallery, Whitechapel Gallery, Chelsea College of Art and Design University of the Arts London, Parasol Unit Foundation for Contemporary Art
Chelsea College: of Art and Design University of the Arts London
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Friendly Video Graffiti @ Parasol Unit Foundation for Contemporary Art

2009-06-20T14:12:00.001-07:00

Viewed from a distance, Friendly Video Graffiti @ Parasol Unit Foundation for Contemporary Art (2009) appears to be an idyllic home video, a camera overlooking a video wall in a black room. Yet upon closer inspection this image quickly breaks down into something much more complex and disturbing. Fragmented into a finely balanced composite of colliding images and art intervention motives, the video work suddenly seems much more bleak and suburban, and a distressingly familiar image of the video wall of earlier Friendly Video Graffiti actions encroaches upon the black room scenery with its magnificent fallen stag. This disparity between the harmonious and seductive first impression and the more critical, creepy and layered imagery that becomes apparent when the video ends is the result of L.C. von Sukmeister’s unique working process.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Lauren Conrad
Camera Operator: La Chemise
William: Swain
Tony: Kentridge
William: Kentridge
Location: London N1 7RW
Location Details: 14 Wharf Road
Date: 19 June 2009
Script: Tate Britain, ART NOW, T. Swain, Temperature is here too
Script Consultant: Tony S.
Series: Friendly Video Graffiti Project 2009
Part II: London
Spaces Part II: Saatchi Gallery, Whitechapel Gallery, Chelsea College of Art and Design University of the Arts London, Parasol Unit Foundation for Contemporary Art
Parasol Unit: Foundation for Contemporary Art
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Friendly Video Graffiti @ Saatchi Gallery, part deux

2009-06-20T14:03:00.000-07:00

L.C. von Sukmeister began his artistic career as a writer and art historian, concerned less with the meaning of images than with the way they could be appropriated across new media such as the internet. Seeking to demolish the functionality of the institutional art spaces, in the first decennium of the 21st century he made a series of art intervention practices called the Friendly Video Graffiti Project using pre-existing exhibition spaces and re-interpreting them via new media such as social network sites (youtube, vimeo).

As Von Sukmeister first appropriated, cut, spliced, moved and displaced images of pre-existing artworks and video art, he performed many of the principle actions of the New Art Video Appropriation (NAVA) movement which were the forebear of the Friendly Video Graffiti Project. These actions became increasingly performative, as Von Sukmeister asked himself:

If I’m so interested in this question of exhibition spaces and movement of pre-existing images, why am I confining this movement to a computer flat screen?

From here, he began to operate in a variety of galleries and institutions for contemporary art, exploring the real space of art interactions, and creating some of the foundational works of his Friendly Video Graffiti Project.

Credits:
Art Director: L.C. von Sukmeister
Associate Producer: Leopold Chrétien
Camera: Lauren Conrad
Camera Operator: La Chemise
Zomernovelle 2005: http://www.lulu.com/content/480847
Literature: De Provinciaalstedelijke Avonturen van dhr. D. van Eventer, of hoe, met de gedachten gericht op geilheid, gemakkelijk geld verdiend kan worden zonder arbeid en alliteratie te adelen in uptempo. Een zomernovelle 2005.
Art: Jacob H.
Vito: Hashimoto
Jacob: Acconci
Prop: Continent (2007)
Location: London SW3 4SQ
Location Details: Duke of York's HQ, King's Road
Date: 18 June 2009, ReadyMade 2007
Script: ROLAND, Issue 2, June-August 2009, p. 8
Script Consultant: V. Acconci
Series: Friendly Video Graffiti Project 2009
Part II: London
Spaces Part II: Saatchi Gallery, Whitechapel Gallery, Chelsea College of Art and Design University of the Arts London, Parasol Unit Foundation for Contemporary Art
Saatchi: Gallery
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