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Crystal Time series, 17/4/2013-Boston Marathon Bombings-SE4 1NZ, C-print, 150x100cm

Flâneur on Moving Truck series, C-print, mounted on plexiglas, (each)35x23cm, 2014

www.cjyart.com cjyarts@gmail.com

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| I don’t feel sorry for you. I’m really a sadist.

Crumbling ruins of big houses, lost domains accruing val-

ue behind locked gates, security patrols, men with guns,

guard dogs, cameras.

You are the ghost of content. | You are Leonora Carrington’s

nightmare, Jackson Pollock’s car crash, Frida Kahlo’s

steel corset. | I am Jean-Michel Basquiat’s paint-spattered

Armani suit. | You are the launderette of culture. | You

are my beautiful burning palm trees.

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It is all we have knowledge of, which exist beyond language and therefore impossible to contextualize - it is all this, the other stuff which is the focal point of my work. Not to make the world more comprehensible, but to make it bigger.My practise is focused on people, communication and language, and my work questions reality-perceptions and how we interact with each other. The ambition is to break down the idea of art as a space for creating meaning and communicating values. I work with installations where sound, video and text is main focus, emphasizing a both bodily and intellectual experience of the work. http://www.stinekvam.dk/I present two installations in the degree show.

stills from video 3,10 min in loop

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Ting-Ting Cheng (b. 1985, Taiwan) is a London based artist who graduated from MA Photographic Stud-

ies, University of Westminster. Cheng had solo shows at galleries in UK, Spain, Taiwan, Hong Kong and Japan.

Her works were featured in Art 14 (London), ARCO (Madrid), Art Stage (Singapore), Art Taipei (Taipei), Tokyo

Frontline (Tokyo), Taipei Fine Art Museum (Taipei), National Taiwan Museum of Fine Art (Taichung), National Art

Museum of China (Beijing), Bi-City Biennale of Urbanism\Architechture (Shenzen) and III Moscow International

Biennale for Young Art (Moscow).

In The school of accents I, Cheng invited participants with differ-

ent first languages on fiverr.com to teach her how to speak English with

their foreign accents, using the sentence “I hereby declare, on oath, that

I absolutely and entirely renounce and abjure all allegiance and fidelity

to any foreign prince, potentate, state, or sovereignty of whom or which

I have heretofore been a subject or citizen.” as the example. With the

intention to explore the relationship between accent and identity, Cheng

questions the concept of “standard” accent as part of the mechanism of

ideology. By trying to speak like native speakers for the English learners,

did the lost of original accent reflect the abandon of one’s original identi-

ty? And the use of fiverr.com questions the possible labour generated by

5 USD, reflecting the unequal power relation between countries and the

globalization of currency.

In The school of accents II, Cheng documented her artist talk at

Tate Modern as part of Friday Night Salon, where she talked about The

school of accents I. Cheng invited an English tutor to correct her pronun-

ciation in the video.

www.chengtingting.com

[we’ve all seen it coming;

we know we’re going to have to go underground at some point]

those holes can’t wait forever;

[detritus, stationary, on the floor]

[DESKTOP BACKGROUND CHOICES]

[SETTLING UPON THE DESERT]

it would be a mistake to think they know what they’re doing;

[spinning gravity-free detritus, green-screened over desert landscapes]

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Paedophilia and Terrorism have long been designated by the State and its control mechanisms as exceptional, ultimate, unhuman crimes that require extraordinary measures establishing “The State of exemption”. For Terrorism at this state, censorship, total surveillance, torture, illegal invasion, extrajudi-cial executions, imprisonment, secret or not, without due process, secret trials, excessive punishment and thoughtcrime are often justified measures. For Paedophilia thoughtcrime, censorship and extensive surveillance is normally supplemented by Mass Media hysteria, distortion and disproportioned coverage mainly from conservative, populist media outlets.

The main pillar around which this neo-liberal edifice has been constructed is lcapitalism. This installation is an investigation into the effects of late capitalism on some of the aspects that constitute the core of our communal identity as members of advanced ”liberal democratic society”. These are artistic expression, freedom of speech and the right to mainstream accurate information.

Stemming from the ability of late capitalism’s societal and political mechanisms to create crisis or ca-tastrophes and subsequently capitalize on them maximizing social control and enforce consent, this installation is attempting to examine how war, propaganda, Art, censorship, Law, are or can be related and ultimately utilized in order to establish and further strengthen or reversibly fight totalitarian inclined contemporary Governmentality.

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www.goldsmithsmfashow2014.co.uk