Jesús Hernández

Todo el tiempo, 2010
, 5 min 15 s, colour, sound (music: Glez)
Courtesy of NYSUfilms

In Todo el tiempo, Jesús Hernández, with musical backing by Glez (alias Amaro Ferreiro), created a disturbing ‘last supper’ plagued with pictorialist references to and mentions of the tenebrist aesthetic and the still lifes of the Baroque tradition. With painstaking staging and a virtuoso use of the stop- motion technique, he presents us with a surprising gallery of characters who are disturbing one moment and hilarious the next. Black humour and audiovisual experimentation at the service of a story suspended in time, in which the tension keeps growing until we reach the unexpected end.

Joseph Beuys

Joseph Beuys

Dara Birnbaum

Dara Birnbaum

John Sanborn, Kit Fitzgerald (Antarctica)

John Sanborn, Kit Fitzgerald (Antarctica)

Pipilotti Rist

Pipilotti Rist

Bjørn Melhus

Bjørn Melhus

Charley Case

Charley Case

Olaf Breuning

Olaf Breuning

Cheryl Donegan

Cheryl Donegan

Ana Laura Aláez

Ana Laura Aláez

Marc Bijl

Marc Bijl

Carles Congost

Carles Congost

Joan Morey

Joan Morey

 Adel Abidin

Adel Abidin

Hugo Alonso

Hugo Alonso

Charles Atlas

Charles Atlas

Jesús Hernández

Jesús Hernández

César Pesquera

César Pesquera

Jorge Galindo and Santiago Sierra

Jorge Galindo and Santiago Sierra

Portrait of Martín Zapater (1797)

Portrait of Martín Zapater (1797)

Martín Zapater y Clavería, born in Zaragoza on November 12th 1747, came from a family of modest merchants and was taken in to live with a well-to-do aunt, Juana Faguás, and her daughter, Joaquina de Alduy. He studied with Goya in the Escuelas Pías school in Zaragoza from 1752 to 1757 and a friendship arose between them which was to last until the death of Zapater in 1803. 

Turquerie

Turquerie

Having penetrated the Balkans in the fourteenth century, conquered Constantinople in the fifteenth, and reached the gates of Vienna in the sixteenth, the Ottoman Empire long struck fear into European hearts. 

It’s better to burn out than to fade away

It’s better to burn out than to fade away

In 1962 Philip Corner, one of the most prominent members of the Fluxus movement, caused a great commotion in serious music circles when during a performance entitled Piano Activities he climbed up onto a grand piano and began to kick it while other members of the group attacked it with saws, hammers and all kinds of other implements.