Installationen, Videos und Projekte im öffentlichen Raum


von Oliver Ressler

Installationsansichten aktuell

Oliver Ressler, “Alternative Economics, Alternative Societies”, 16-channel video installation, 2003-2008 (Installation view: “Catastrophe Bonds”, Bush Art Center Galleries, St. Norbert College, De Pere, USA, 2018; photo: O. Ressler)

 

Oliver Ressler, “Alternative Economics, Alternative Societies”, 16-channel video installation, 2003-2008 (Installation view: “Catastrophe Bonds”, Bush Art Center Galleries, St. Norbert College, De Pere, USA, 2018; photo: O. Ressler)

 

Oliver Ressler, “Fly Democracy”, video installation with leaflets, 2007 (Installation view: “Catastrophe Bonds”, Bush Art Center Galleries, St. Norbert College, De Pere, USA, 2018; photo: O. Ressler)

 

Oliver Ressler, “Fly Democracy”, video installation with leaflets, 2007 (Installation view: “Catastrophe Bonds”, Bush Art Center Galleries, St. Norbert College, De Pere, USA, 2018; photo: O. Ressler)

 

Oliver Ressler, “New Model Army”, stand-in activists, 2016/2017; “Everything’s coming together while everything’s falling apart”, 4-channel video installation, 2016-2018 (Installation view: “How to Occupy a Shipwreck”, Kunst Haus Wien, Vienna, 2018; photo: O. Ressler)

 

Oliver Ressler, “New Model Army”, stand-in activists, 2016/2017; “Everything’s coming together while everything’s falling apart”, 4-channel video installation, 2016-2018 (Installation view: “How to Occupy a Shipwreck”, Kunst Haus Wien, Vienna, 2018; photo: O. Ressler)

 

Oliver Ressler, “When The Levee Breaks”, foil on mirror, 213 x 150cm, 2018; “New Model Army”, stand-in activist, 2017 (Installation view: “How to Occupy a Shipwreck”, Kunst Haus Wien, Vienna, 2018; photo: O. Ressler)

 

Oliver Ressler, “New Model Army”, stand-in activists, 2016/2017; “Everything’s coming together while everything’s falling apart”, 4-channel video installation, 2016-2018 (Installation view: “How to Occupy a Shipwreck”, Kunst Haus Wien, Vienna, 2018; photo: O. Ressler)

 

Oliver Ressler, “What Is Democracy?”, 8-channel video installation, 2009 (Installation view: “Antidoron – The EMST Collection”, Documenta 14, Kassel, 2017; photo: O. Ressler)

 
Oliver Ressler, “What Is Democracy?”, 8-channel video installation, 2009 (Installation view: “Antidoron – The EMST Collection”, Documenta 14, Kassel, 2017; photo: O. Ressler)

 

Oliver Ressler, “What Is Democracy?”, 8-channel video installation, 2009 (Installation view: “Antidoron – The EMST Collection”, Documenta 14, Kassel, 2017; photo: O. Ressler)

 

Oliver Ressler, “Everything’s coming together while everything’s falling apart”, 2-channel video installation (Installation view: Jeju Biennale 2017; photo: courtesy Jeju Biennale)

 

Oliver Ressler, “Emergency Turned Upside-Down”, floor piece, 2016 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Oliver Ressler, “Emergency Turned Upside-Down”, floor piece, 2016 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Oliver Ressler, “Too Big to Fail“, 2011/2016 (billboards in the framework of “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Zanny Begg & Oliver Ressler, “The Right of Passage”, film, 2013; Oliver Ressler, “Emergency Turned Upside-Down”, floor piece, 2016 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Zanny Begg & Oliver Ressler, “The Right of Passage”, film; wall drawing, 2013 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Oliver Ressler, “Stranded”, digital print, 2015 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Oliver Ressler, “The economy is wounded: let it die!”, digital print, 2016 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Oliver Ressler, “The economy is wounded: let it die!”, digital print, 2016 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Oliver Ressler, “Property Is Theft”, wall text, 2014/2016 (Installation view: “Who Throws Whom Overboard?”, SALT Galata, Istanbul, 2016; photo: O. Ressler)

 

Oliver Ressler, “New Model Army”, stand-in activists, 2016 (Installation view: “Property is Theft”, MNAC – National Museum of Contemporary Art, Bucharest, 2016; photo: O. Ressler)

 

Oliver Ressler, “New Model Army”, stand-in activists, 2016; “Proprietatea e furt“/“Property Is Theft”, wall text, 1400 x 146 cm, 2016
(Installation view: “Property is Theft”, MNAC – National Museum of Contemporary Art, Bucharest, 2016; photo: O. Ressler)

 

Dario Azzellini & Oliver Ressler, “Occupy, Resist, Produce”, 3-channel video installation, 2014-2015; Oliver Ressler, “New Model Army”, stand-in activists, 2016 (Installation view: “Property is Theft”, MNAC – National Museum of Contemporary Art, Bucharest, 2016; photo: O. Ressler)

 

Dario Azzellini & Oliver Ressler, “Occupy, Resist, Produce”, 3-channel video installation, 2014-2015 (Installation view: “Property is Theft”, MNAC – National Museum of Contemporary Art, Bucharest, 2016; photo: O. Ressler)

 

Oliver Ressler, “Emergency Turned Upside-Down”, film, 2016; Zanny Begg & Oliver Ressler, “The Right of Passage”, film, 2013 (Installation view: “Confronting Comfort’s Continent”, Foundation Fabbrica Del Cioccolato, Torre-Blenio, CH, 2016; photo: O. Ressler)

 

Dario Azzellini & Oliver Ressler, “Occupy, Resist, Produce”, 3-channel video installation, 2014-2015 (Installation view: “Confronting Comfort’s Continent”, Foundation Fabbrica Del Cioccolato, Torre-Blenio, CH, 2016; photo: O. Ressler)

 

Oliver Ressler, “Stranded”, digital prints, 120 x 80 cm each, 2015 (Installation view: “Transnational Capitalism Examined: Border as Method”, The Gallery Apart, Rome, 2016; photo: O. Ressler)

 
Oliver Ressler, “Failed Investments”, digital prints, 120 x 60 cm, 2015; “Robbery”, film, 2012; “Stranded”, digital prints, 2015; “Emergency Turned Upside-Down”, floor piece, 2016 (Installation view: “Transnational Capitalism Examined: Border as Method”, The Gallery Apart, Rome, 2016; photo: O. Ressler)

 
Oliver Ressler, “There Is Not A Flag”, LED lightbox, 180 x 87 cm, 2016 (Installation view: “Transnational Capitalism Examined: Border as Method”, The Gallery Apart, Rome, 2016; photo: O. Ressler)

 

Oliver Ressler, “Emergency Turned Upside-Down”, film, 2016; Oliver Ressler, “There Is Not A Flag”, LED lightbox, 180 x 87 cm, 2016 (Installation view: “Transnational Capitalism Examined: Border as Method”, The Gallery Apart, Rome, 2016; photo: O. Ressler)

 

Martin Krenn & Oliver Ressler “European Corrections Corporation”, installation, 2004/2016 (Installation view: “Transnational Capitalism Examined: Dancing on Systemically Important Graves”, Fondazione Pastificio Cerere, Rome, 2016)

 

Oliver Ressler, “Take The Square”, 3-channel video installation, 2012 (Installation view: “Playgrounds”, Museo Reina Sofía, Madrid, 2014)

 

Oliver Ressler, “There is not a flag”, banner, 900 x 340 cm, 2015
(Installation view: “Utopian Pulse – Flares in the Darkroom”, MOCAK – Museum of Contemporary Art, Krakow; photo: Rafal Sosin)

 

Oliver Ressler, “There is not a flag”, billboard, 2016
(Installation view: billboards in Bratislava in the framework of “Fear of the Unknown”, Kunsthalle Bratislava, 2016; photo: O. Ressler)
The text on the image showing the Slovak parliament reads: There is not a flag large enough to cover the shame of killing innocent people

 

Oliver Ressler, “Leave It in the Ground“, 3 LED lightboxes, 84,1 x 59,4 cm, 2014 (Installation view: “The Extractive Machine, Neo-colonialisms and environmental resources”, PAV Parco Arte Vivente, Torino, 2017; photo: courtesy PAV Parco Arte Vivente)

 

Oliver Ressler, “The Visible and the Invisible, film, 2014; Oliver Ressler, “Property is theft“, banner, 496 x 109 cm, 2014; Not An Alternative, “mili-tents, eviction defense shields”, 2011; film in tent: Ana Pecar & Oliver Ressler, “In the Red”, 2014; Oliver Ressler & David Thorne, “Boom!”, lightbox, 110 x 40 cm, 2001 (Installation view: “Last Gasp Of Things As They Are”, GPLcontemporary, Vienna, 2016; photo: O. Ressler)

 

Oliver Ressler, “There Is Not A Flag”, LED lightbox, 184,4 x 72,2 cm, 2014 (photo: O. Ressler)

 

Oliver Ressler, “Failed Investments”, digital prints, 120 x 60 cm, 2015 (Installation view: “Last Gasp Of Things As They Are”, GPLcontemporary, Vienna, 2016; photo: O. Ressler)

 

Oliver Ressler, “Failed Investments”, billboard, 2015 (Installation view: 7th Grolsch ArtBoom Festival, Krakow, 2015; photo: Michal Ramus)

 

Oliver Ressler, “Take The Square”, 3-channel video installation, 2012 (Installation view: “Hors Pistes – L’art de la Révolte”, Centre Pompidou, Paris, 2016)
 

Oliver Ressler, “The Plundering”, film, 2013; “Elections are a Con”, wall text, 2011; “Resist to Exist”, installation, 2011; (Installation view: “The Plundering”, Lentos Kunstmuseum Linz, 2014; photo: O. Ressler)

 

Oliver Ressler, “The Visible and the Invisible”, film, 2014; “Leave It in the Ground”, film, 2013 (Installation view: “The Plundering”, Lentos Kunstmuseum Linz, 2014; photo: O. Ressler)

 

Oliver Ressler, “Elections are a Con”, wall text, 2011; “Resist to Exist”, installation, 2011; (Installation view: “The Plundering”, Lentos Kunstmuseum Linz, 2014; photo: O. Ressler)

 

Oliver Ressler, “We Have a Situation Here”, digital print, 2011; “Don’t purchase a better world, fight for a better world”, digital print, 2008; “The Visible and the Invisible”, digital prints, 2014 (Installation view: “The Plundering”, Lentos Kunstmuseum Linz, 2014; photo: Reinhard Haider)

 

Oliver Ressler, “Property Is Theft”, wall text, 800 x 109 cm, 2014 (Installation view: “We will beg for nothing, we will ask for nothing. We will take, we will occupy”, Centro Andaluz de Arte Contemporaneo – CAAC, Seville, 2015; photo: O. Ressler)

 

Oliver Ressler, “Globalizing Protest”, digital prints, 140 x 105,5 cm, 2004-2007 (Installation view: “We will beg for nothing, we will ask for nothing. We will take, we will occupy”, Centro Andaluz de Arte Contemporaneo – CAAC, Seville, 2015; photo: O. Ressler)

 

Oliver Ressler, “For A Completely Different Climate”, 3-channel slide installation with sound, 2008 (Installation view: “We will beg for nothing, we will ask for nothing. We will take, we will occupy”, Centro Andaluz de Arte Contemporaneo – CAAC, Seville, 2015; photo: O. Ressler)

 

Oliver Ressler & Dario Azzellini, “5 Factories – Worker Control in Venezuela”, 6-channel video installation, 2006 (Installation view: “We will beg for nothing, we will ask for nothing. We will take, we will occupy”, Centro Andaluz de Arte Contemporaneo – CAAC, Seville, 2015; photo: O. Ressler)

 

Oliver Ressler & Dario Azzellini, “5 Factories – Worker Control in Venezuela”, 6-channel video installation, 2006 (Installation view: “We will beg for nothing, we will ask for nothing. We will take, we will occupy”, Centro Andaluz de Arte Contemporaneo – CAAC, Seville, 2015; photo: O. Ressler)

 
Oliver Ressler, installation for media façade, Museum of Contemporary Art – MSU, Zagreb, 2015 (photo: O. Ressler)

 

Oliver Ressler & Zanny Begg: “The Bull Laid Bear”, film, 2012 (Installation view: “Political Imaginaries: Making the World Anew”, Wyspa Institute of Art, Gdansk, 2014; photo: O. Ressler)

 

Oliver Ressler, “Elections are a Con”, wall text, 2011; “Robbery”, film, 2012 (Installation view: “After the Crisis is Before the Crisis”, Basis, Frankfurt am Main, 2012; photo: O. Ressler)

 

Oliver Ressler, “Elections are a Con”, wall text, 2011 (Installation view: Galerija PM, Zagreb; photo: Elvis Krstulovic)