Last one to post wins the internets

[arzurez]

[Mr. Mulder]

Wa'gwan, breadbins

it is well snowing here, snowing all over peoples faces. fact.

[Mr. Mulder]

watched that tim burtons sweeney tod last night, the first 4 seconds were good until it turned into a musical. i wanted to turn it over and watch armstrong and miller but the misses wouldn't let me

In other news, my sexy flatmate is moving out and being replaced with a less attractive spanish girl/woman who has come to this country to learn to speak english. I don't really think eastbourne is the right place for her to do so... She doesn't speak english and currently doesn't have a job either, i don't quite know why the landlady has agreed to let her move in

She's not great looking lyke, that's not to say if i were to come home one day to find her strumming one off in the front room i wouldn't dive right in but im not gonna go out of my way or anything

[JPaul]

It was really snowing here today, in Snowland.

Nun of your ghey English snow. Real man snow.

That didn't come out right.

[Mr. Mulder]

[Mr. Mulder]

Have any of you cunts been to the Tate modern? me and the misses are going Wednesday, off to the natural history museum too its gonna be cultural and educational to the motherfucking max +1 and no mistake.

[JPaul]

Museum's of modern art are pish to the max.

It's all shite like piles of bricks and unmade fucking beds.

Explore it here then don't go http://www.tate.org.uk/modern/explore/

[Mr. Mulder]

She's banging on at me we never go out and do things anymore and its fucking free, there's every reason in the world to go

[JPaul]

Don't say I didn't warm you



Lucia Nogueira's poetic installations and videos explore everyday experience and encourage imaginative contemplation.

Nogueira's work is intentionally open-ended and leaves questions unanswered. By inviting spectators to create meaning through their own memories and associations she allowed for new narrative possibilities.

Smoke is a video documenting an installation Nogueira produced in Berwick, a garrison town on the border between England and Scotland, divided from the sea by its immense Elizabethan ramparts. Nogueira worked in common grazing land between the town and the sea. Her installation comprised two small kiosks painted black, one of which dispensed black kites, the other black umbrellas. In addition she positioned a black bench where visitors could sit and look out to sea, a large black flag on a nearby golf course, and a black stepladder on a verge overlooking earthworks.

The video, shot in grainy black and white, shows the mysterious and lyrical elements which made up Nogueira's site-specific work. The long bench appears, first vacant and later occupied by pensioners. Nogueira encouraged visitors to use her kites and umbrellas and several scenes show the kites dancing in the wind, their shadows playing across the ramparts. A soundtrack of ambient noise - birdsong, the flapping of the kites and the flag, murmuring voices and the gentle hum of the wind - accompanies the images. The video functions as a record of the Berwick event and as a poetic work in its own right.

Lucia Nogueira (1950-1998) was born in Goiania, Brazil. She lived and worked in London from 1975.

Curated by Stuart Comer

Text by Stuart Comer and Rachel Taylor








1 work

Everyday objects are wittily recreated in this installation by Swiss artists Peter Fischli and David Weiss.

Fischli and Weiss, who have collaborated together since the late 1970s, delight in everyday objects and activities. They have described their working method as 'concentrated daydreaming', and are proud of this unhurried "There's certainly a subversive pleasure in occupying yourself with something for an unreasonable length of time", Fischli has said.

Untitled (Tate) is a reconfiguration of an installation first commissioned for the opening displays of Tate Modern in 2000. At first glance, the room appears to be a work in progress, littered with tools and the grubby detritus found in any construction site or workshop. In fact, it is an accumulation of polyurethane sculptures meticulously hand-carved and painted to seem indistinguishable from the original objects. There is a conscious perversity in devoting so much time and skill to imitating cheap, mass-produced objects.

Like a three-dimensional version of a trompe-l'oeil still-life painting, the installation is designed to give the illusion of reality. Fischli and Weiss's playful configurations have been described as 'simulated readymades', referring to the everyday objects that Marcel Duchamp presented in a gallery context as works of art. Discussing the parallel, the artists comment: "Duchamp's objects could revert back to everyday life at any point in time. Our objects can't do that; they're only there to be contemplated. They're all objects from the world of utility and function, but they've become utterly useless."

Peter Fischli was born in 1952 in Zürich, where he lives and works.

David Weiss was born in 1946 in Zürich, where he lives and works.

Curated by Juliet Bingham



Et fucking cetera

[Mr. Mulder]

if i think about steaks and explosions the whole time we're there, that should just be enough to starve off catching homosexuality...