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Gillian Wearing CBE,

Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say

Photograph, colour, Chromogenic print, on paper,

Frame: 1325 × 925 × 45 mm,
support: 1190 × 790 mm,



Gillian Wearing CBE,

Confess All On Video. Don't Worry You Will Be in Disguise. Intrigued? Call Gillian

Video, monitor, colour and sound,

Duration: 35 min., 59 sec.




Gillian Wearing CBE,

Dancing in Peckham,1994

video duraration: 25 min


Relational factors as in community forming and cultural beings

In Pad Thai (1992), Rirkrit Tiravanija invites people to make the Thai traditional meal with him, In Turkish Jokes(1994) Jens Haaning recorded Turkish Jokes with Turkish Immigrants and then broadcast through a loudspeaker attached to a lamppost in the Turkish area of central Oslo. The work heavily depends on relational factors that is cultural and community based, while also blurring the boundaries of art making and social activism, such works leans to opening up of discursive space as art are not a concrete end result but relies on happenings and inter-relations.

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Rirkrit Tiravanija,untitled, (free/still)1992/1995/2007/2011-


Jens Haaning,

Turkish Jokes, 1994

Framed catalogue page, loudspeaker, 41 meter waterproof outdoor loudspeaker cable and fittings 

47.244 x 35.433 inches (120 x 90 cm)

Relational factors as in personal relations, social and political context.

A ever-changing cube of gun-violence records, a refillable candy spill with the weight of Gonzalez-Torres's partner that contacted HIV, two clocks that are adjusted to exact same time but will eventually starts to depart each other. Work of flux and happenings rather than fixed art objects. 


The ever-changing status of the work such as "Portrait of Ross in L.A." relies on participations to get the cycle of life and death going, through Candy. The eating of the candy thus become something uneasy to think about while having a free candy could be pleasurable, The work also is dependent to the relation of Gonzalez-Torres's identity and the social context of HIV at that time as well. While in memorial of Ross it also brings forward the vulnerability of life under HIV contact among gay communities and the enlightenment of ever-changing life cycles.


Felix Gonzalez-Torres, Artist

"Untitled" (Death by Gun) , 1990 

Print on paper (endless copies)

9 x 44 15/16 x 32 15/16 in. (48.3 x 114.1 x 83.7 cm)

The Museum of Modern Art, New York. Purchased in part with funds from Arthur Fleischer, Jr., and Linda Barth Goldstein, 1991. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, New York


"Untitled" (Perfect Lovers), 1991
Wall clocks and paint on wall, Overall dimensions vary with installation Clocks: 14 x 28 x 2 3/4 in. overall Two parts: 14 in. diameter each
© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York


"Untitled" (Portrait of Ross in L.A.), 1991
Candies individually wrapped in multicolored cellophane, endless supply, Overall dimensions vary with installation Ideal weight: 175 lbs
© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York

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