ASDAMAdvanced Semiconductor Devices and Microsystems (conference)
ASDAMAssociation Sportive Danjoutin Andelnans Meroux (French: Sports Association Danjoutin Andelnans Meroux)
Copyright 1988-2018, All rights reserved.
References in periodicals archive ?
Still, relatively few directors make architecture the central element the way Asdam does.
The latest installment in an ongoing series, these nocturnal images of urban housing developments continue Asdam's documentation of life in the hive of dystopian architecture.
Like Cluster Praxis, Notes is accompanied by a sound track of Asdam's abstruse texts.
Considered together, Asdam's paired videos seem to argue that subjective absorption is both cause and consequence of political and economic oppression on the city streets.
Once again I enjoyed reading the articles in the recent issue, but once again I am perplexed by one of the titles, this time for George Baker's piece about Knut Asdam's work[February 2000].
Als's essay; and "The Video and Installation Works of Knut Asdam: An Eloquent Response to the Legacy of Postminimalism Under Contemporary Conditions of the Commodification of the Public Sphere." All the same, we thank you for your kind indulgen ce.
And with this, Knut Asdam's video Untitled: Pissing, might be seen as prefiguring almost all the concerns of the larger project that this young Norwegian-born, London-educated, but New York--based artist has been elaborating over the last five years.
Asdam would immediately transfer the procedures of Untitled: Pissing to a series of ongoing video works, all given some version of the title "Psychasthenia." The reference is to Roger Caillois's infamous 1935 essay "Mimicry and Legendary Psychasthenia," in which the dissident Surrealist suggested that the phenomenon of insect camouflage should be compared to a type of schizophrenic psychic condition characterized as a "depersonalization by assimilation to space": an entropic loss of distinctions, of ego boundaries, of any bodily sense of inside and outside.
Untitled: Pissing prefigured another dimension of Asdam's production as well: the making of structures, a series of architectural frames, to facilitate (or disrupt) video viewing.
Suspended ambivalently between surveillance and subversion, the spatial references of Asdam's recent structures are held in common in the work of a wide range of contemporary artists engaged in rethinking the legacy of Minimalism.
(Their escort: Norwegian Knut Asdam, whose "night garden" installation, ominously billed as "full of surprises," will either cheer everyone up or spook them even more.)